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24/10/2016 WreckingBallDeconstructedHitSongsDeconstructed

Miley Cyrus

Wrecking Ball
Deconstructed

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Skipto:
Audio/Video
Overview
SongStructure
Momentum/Tension/Intensity(MTI)
Music/Instrumentation/VocalDelivery
VocalMelody
Lyrics
Benchmarking
A&RHitFactors
Recap,Takwaways&FinalThought

Audio/Video BacktoTop

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At a Glance BacktoTop

Artist:MileyCyrus
Song/Album:WreckingBall/Bangerz
Songwriters:Gottwald,McDonald,Moccio,Skarbek,Walter
Genre:Pop
SubGenres:PowerBallad
Length:3:40
Structure(Form):ABABCB
Tempo:60bpm
FirstChorus:0:42/19%intothesong
IntroLength:0:08
OutroLength:n/a
Electricvs.Acoustic:Combo
PrimaryInstrumentation:Synth,ElectricGuitar,Piano,Strings,Drums
LyricalTheme:Love/Relationships

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TitleOccurrences:WreckingBalloccurs5timeswithinthesong
PrimaryLyricalP.O.V:1st&2nd

Overview BacktoTop

TosaythatMileyCyrusisattheforefrontofPopculturerightnowwouldbeanunderstatement.Herrecentoutlandish,controversialbehaviorwhich
includestwerkingattheVMAs,statingpublicallytoRollingStonethatweedisthebestdrugonearth,andswingingnudefroma
wreckingballallhavetakenherexposure(nopunintended)toastronomicalheights.

Butbehindallthehypeandcontroversyliesatalentedartistwhowasabletotakeasongthatwasprovidedtoherbysomeoftodayshottesthitmakers,
makeitherown,anddeliveritinaninfectious,engaging,memorablemannerthatwasabletoconnectandresonatewiththemassesonaglobalscale.

Asyoullseewithinthereport,thereisalotthatcanbelearnedfromWreckingBall.Youjustneedtolookbeyondthehypeandappreciatethe
songforwhatitreallyisaclever,expertlywellcraftedPowerBallad.

Todate,WreckingBallhaslandedinthetop10on30chartsthroughouttheworld,andhit#1on11.

Song Structure BacktoTop

TIMELINE(Showswheneachsectionhitswithinthetimelineofthesong)

GENERALFORM

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WreckingBallutilizesbyfarthemostpopular,andarguablythemosteffectiveform(structure)inPopmusic:ABABCB(VerseChorusVerse
ChorusBridgeChorus).

FULLFORM

Whenyoutakeintoaccountallofthesectionswithinthesong,WreckingBallsfullformlookslikethis:IntroVersePreChorusChorus
VersePreChorusChorusBridgePreChorusChorus.

Wellbegettingintospecificsregardingthesesectionsfurtherintothereport.

SECTIONLENGTH&COUNT
(Lengthofeachindividualsectionwithinthesong)

I=Intro,V=Verse,PC=PreChorus,CHR=Chorus,BRG=Bridge,TRANSTransition,RING=RingOut

SECTIONCOUNT

WreckingBallcontains10primarysectionswithinitsframework,whichincludesthefollowing:

1intro

2verses

2fullprechoruses

1halfprechorus

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3choruses

1bridge

RegardingtheTRANSsegmentsthataredetailedinthegraphabove,notethatthesearethetransitionalpointsbetweentheprechorusandchorus
sectionswithinthesongaswellasbetweenthesecondchorusandthebridge.Moreontheimportanceofthesetransitionalpointssoon

SECTIONLENGTH

Inregardtothelengthofindividualsectionswithinthesong,asyoullseebelowtheyrangefromtheveryshorttoquitelong.Notsurprisingly,
excludingthebrieftransitionalsegments,theintroclocksastheshortestwhilethechorussections,(i.e.payoffs),areamongstthelongestin
additiontothebridge:

VeryShort(0:05andUnder)

Allofthetransitionalsegments(rangingfrom0:02to0:04).

Short(0:060:10)

0:07PreChorus3(halfsection)

0:08Intro

0:10Ring

Short/Moderate(0:110:15)

0:14PreChoruses1&2

Moderate(0:160:20)

0:16Verses1&2

0:20Chorus1

Moderate/Long(0:210:25)

None

Long(0:25+)

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0:34Chorus2

0:38Chorus3

SECTIONALSEGMENTING

EngagingthelistenerandKEEPINGthemengagedthroughouteachsectionofthesongisofparamountimportancetoitssuccess.Ifthereisanypointthat
causesthelistenersattentiontostarttowander,itsallover.

Therearemanyelementsthatacttoheightentheengagementvalueforthelistenerincludinganinfectiousmelodyandrhythm,stronglyrics,MTIlevel
fluctuations,etcButonefactorthatisofutmostimportanceistoprovidethemwithnewelementsenteringthemixfrequentlytohelpkeep
thingsfreshandengaging.Ifthesonglingersonfortoolongwithinoneparticularsectionwithoutprovidingdiversity,thelistenerwilleventuallystartto
loseinterest.

Whatfollowsisarundownofhowcertainsectionsweresegmentedintoshorter,morefrequentsegments:

Intro(0:08)

Veryshortonitsown.

Verse1(0:16):Splitinto2stanzas

0:08FirstStanza

0:08SecondStanza

PreChorus1(0:14):Splitinto2stanzas

0:07FirstStanza

0:07SecondStanza

Chorus1(0:20):Singlestanza+repeat

0:16FirstStanza

0:02Wreckmerepeat/0:02transintoverse2

Verse2(0:16):Splitinto2stanzas

0:08FirstStanza
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0:08SecondStanza

PreChorus2(0:14):Splitinto2stanzas

0:07FirstStanza

0:07SecondStanza

Chorus2(0:34):Splitinto2Stanzas+repeat

0:16FirstStanza

0:16SecondStanza

0:02Wreckmerepeat

Bridge(0:32):Splitinto2stanzas

0:16FirstStanza

0:16SecondStanza

Chorus3(0:38):Splitinto2stanzas+doublerepeat

0:16FirstStanza

0:16SecondStanza

0:06DoubleWreckmerepeat

Asyoucansee,whenyoubreakeachfullsectiondownintoshorterindividualsegments(i.e.stanzas),youwindupwithanewpassageenteringthe
mixquitefrequentlywhichalongwithotherfactorsasyoullseewithinthereportholdsthelistenersattentionfromstarttofinish.

TOTALSECTIONBREAKDOWN
(Thetotaltimeconsumedbyeachsectionanditspercentageofthetotalsong)

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Asyouknow,typicallyincharttoppingPopsongsitsthechorus(i.e.thepayoff)thatreceivesthegreatestamountoftimeallocationrelativeto
theothersections,andforgoodreason.

Lookingatthegraphabove,youcaneasilyseethatthiswasthecasewithWreckingBall.42%ofitstotalcompositionwasallocatedtothose
superinfectious,powerfulchoruses.Followingfarbehindwehavetheprechorus,verseandbridgesections,allofwhichwereallocatedvirtuallythe
sameamountoftotaltimeat16%,15%and15%,respectively.

Thelesseramountoftimeallocationtothoseaforementionedsectionsdoesntmeanthattheywereanylessinfectious,engagingandmemorable,
however.Onthecontrary,theyrejustasstrongandpertinenttothesongsoveralleffectivenessandsuccessasthechorus.

MTI (Momentum/Tension/Intensity) BacktoTop

(Evaluationoftheintensityofeachsectionwithinthesongtimelineonascaleof110,10beingthemostintense)

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WhenwetalkaboutasongsMTIlevel,werereferringtohowfluctuationsinmomentum,tensionandintensitylevelsareutilizedwithineach
sectionofthesong.

Asyoucanseeinthegraphabove,WreckingBallmakesverygooduseofMTIlevelshiftsthroughoutthesong,makingforaveryengaginglistening
experience.

MTILEVELPLAYBYPLAY

***THEBUILDBEGINS***

WreckingBallkicksoffwithalow/midintensitylevelviathesolosynthsthatdefinetheintro.Noticethateventhoughthesectionisntintensefromamomentumor
sonicstandpoint(i.e.likethechorus),thesynthsprovideaheighteneddegreeoftensionandheavinessviatheiroverallnatureandDmFCGmprogression.

TheMTIlevelthenfurtherincreasesduringthefirstverseviatheadditionofCyrussvocalintothemix,thoughnotbymuch.Thisisduetothefactthatthenatureof
thebackingmusicthatdefinedtheintroremainsprettymuchthesameinthefirstverse.

Onceweenterintotheprechorus,theoverallMTIlevelincreasesyetagain(albeitslightly)overtheprecedingverse.Thistimeitsbroughtaboutviatheadditional
synthcountermelodythathasbeenaddedtothemixcoupledwiththeshiftinthenatureofCyrussvocalmelody.Allinall,itsfurtherheighteningthetension,
suspense&anticipationasthesongmovesclosertothepayoffwithinthechorus.

***SETTINGUPTHEBIGCHORUS***

Atthetailendoftheprechorus,noticethatthesynthbrieflyfadesfromthemixandthatwereleftwithalmosttotalsilence,bringingtheMTIlevelallthewaydown
tonearnil.Itsthissilencethatwillprovidethepowerfulchorusthatfollowswithinevengreaterperceivedimpactwhenithits.

***MTILEVELPEAK#1***

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AssoonastheMTIleveldropstonearzero,itabruptlyskyrocketsbackupwithCyrusssolovocalproclamationIcameinlikea,whichisthenfollowedbythefull
chorusslamminginonthelyricwrecking,takingthesongsMTIleveltoitsfirstgrandpeakviathewreckingballnatureddrums,electricguitars,synth,pianoand
Cyrussintense,soaringvocaldelivery.ThehighMTIlevelofthefirstchorusremainsprettymuchconstantthroughoutthesectionuntilbeingbroughtdownanotchat
thetailendwherethedrumsarepulledfromthemix.

***RESET&REBUILD***

Followingtheintensenatureoftheprecedingchorus,theMTIlevelisbroughtbackdowninthesecondverseduetoashiftinthenatureofCyrussvocaldeliveryand
instrumentationbeingutilized,especiallythefactthatthewreckingballdrumshavebeenremovedfromthemix.Note,however,thattheadditionofthestringsand
especiallythebassduringthesecondhalfprovidesthesectionwithamoreintensenaturethanitsverse1counterpart.

IntheprechorusthatfollowstheMTIlevelincreasesonceagainprimarilyduetotheheightenedtensionthatselicitedviathevocalandbackingmusicin
anticipationofthepayoffthatfollows.

***CATCHINGTHELISTENEROFFGUARD&MTIPEAK#2***

IncontrasttothemannerinwhichthefirstchoruswassetupviathetransitionallullattheendoftheprechorusthattooktheMTIlevelallthewaydownbeforeslamming
inwiththeIcameinlikeavocal,hereattheonsetofthesecondchorusthereisnotransitionallulltobehad.Instead,Cyrushitswiththatfirstlineimmediately
followingtheprechoruswhichprovidesitwithanincreasedsenseofurgency,ultimatelyjoltingthelistenerrightbackintotheintensechorusespeciallyifthey
wereexpectingthatlulltoprecedeit.

ThefirsthalfofthefullchorusthatfollowstakestheMTIlevelbackuptoitspeak,thistimeslightlyhigherthanthefirsttimearoundspecificallyduetothesections
overallhigherlevels.ThesecondhalfthenincreasestheMTIlevelevenfurtherprimarilyduetotheadditionalinstrumentationthathavebeenaddedintothemix.

***BRINGITBACKDOWN***

Followingtheintensenatureoftheprecedingchorus,theMTIlevelisthenbroughtallthewaybackdownduringtheensuingbridge.Thisisduetothefactthatthe
bombastofinstrumentationthatdefinedthechorushasbeenswitchedoutforamoreserene,melancholymixofstrings,pianoandbasscoupledwithCyrussmore
downtrodden,passionateandevocativevocaldelivery.

AtthetailendofthebridgenoticethattheresabrieftransitionallullthatbringstheMTIlevelallthewaydowntonearnil.Itsbroughtbackupagain,albeitnot
bymuch,duringthebreakdownpartialprechorusthatfollows,whichisdefinedbythesolovocalandpiano,whichisbarelyaudiblewithinthemix.Followingthepre
chorus,wefindyetanothertransitionallullthatbringstheMTIleveldowntobasicallyzero.

***GOINGOUTWITHABANG***

Followingthetransitionallullattheendoftheprechorus,CyrusonceagainslamsinwithasoloIcameinlikeavocalwhichisthenfollowedbythethirdfullchorus
slamminginonthelyricwrecking.ThistimearoundtheMTIlevelisanotchabovethatofitscorrespondingsectionwithinthesecondchorusduetotheslightly
increasedlevelsbutmorenoticeablytheadditionalvocalswithinthemix.TheMTIlevelthenreachesitsgrandpeakwithinthesongduringthesecondhalfduetothe
additionalvocalsandinstrumentation.

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TheMTIlevelremainsprettymuchconstantupuntilthetailendofthesectionwhereitsbroughtbackdownduringthefinalYeahyou,youwreeeckmeline.This
isprimarilyduetothefactthatthedrumsandbasshavebeenpulledfromthemix.

Thesongthenconcludesbyafadingringoutoftheremnantinstrumentationfromthechoruscoupledwiththevinylcrackle.ThistakestheMTIlevelonagradualpath
downtozero.

Waveform

Lookingatthewaveformgraphicabove,youcaneasilyseehowsoniclevelsandtheuseofcompressionvarythroughoutthesong.

Asyoucansee,thereare3primarylevelswithinWreckingBalllow,moderateandpushedtothemax.Noticehowtheycorrespondverycloselytothe
MTIlevelsthatwejustsawwithintheprecedingsectionofthereport,reachinganintenseclimaxduringthethirdandfinalchorusofthesong.

LowestLevels

Theintro

Theringoutattheendofthesong

Thetransitions

ModerateLevels

Bothversesections

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Bothprechoruses(anotchabovethatoftheversesections)

Thebridge

Prechorus3

HighestLevels

Chorus1(thirdhighestlevel

Chorus2(secondhighestlevel)

Chorus3(highestlevelwithinthesong)

Music/Instrumentation/Vocal Delivery BacktoTop

KEYELEMENTS

Whatfollowsarethekeyelementsthatyoushouldbeonalookoutforthroughoutthesonginadditiontothevocalmelodyandlyricswhichare
discussedwithintheirownindependentsections.TheseelementsworkedinperfecttandemwithoneanotherinmakingWreckingBallsuchaninfectious,
engagingandmemorablesong.

TheLeadVocalMimic

Keepanearoutforthemannerinwhichboththesynthandpianomimictheleadvocalmelodywithintheprechorusandchorus,respectively.Not
onlydoesthisaddtotheinfectiouscoloringofeachsectionasawhole,butitalsoaccentuatesthememorabilityfactoroftheleadvocalmelodyaswell.

MagicMoments

Thereare2keymagicmomentsthatoccurwithinWreckingBallschoruswhichputsthesongoverthetopthewreckingballnaturedset
up/slamintothesectionplusthecleverbreaeaeakme/wreeeckmevocalsthatconcludethesection.

WreckingBallElements

Inadditiontothewreckingballnaturedmagicmomentthatoccursattheonsetofthechorus,takenoteofhowthesonicandrhythmicnatureofthe
kickandsnarekeepthewreckingballvibeinplaythroughoutthesection.

PowerBalladElements

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TakenoteoftheinstrumentationbeingutilizedthroughoutthesongwhichisdirectlyinlinewithwhatyouwouldexpecttofindwithinaPower
Ballad.Thesynth,piano,stringsandridecymbaldefinetheballad,whiletheelectricguitar,powerfuldrumsandcrashbringthepower.

EvocativeVocals

OneofthecorestrengthsofthesongisthemannerinwhichCyrussingsitlikeshemeansitthroughoutwhichenablesthelistenertoconnectwith
thelyrics,andthesongingeneral,onadeeperlevel.

EvocativeInstrumentation

Inadditiontoevocativevocals,takenoteoftheprogressionsandsonicqualitiesoftheinstrumentationbeingutilizedwithineachsectionthat
bothaccentuatesthenatureofthelyricsaswellasprovidetheperfectbackdropforCyrussvocalstoshine.

TheMarriageoftheVocal,Instrumentation,Music&Lyrics

PerhapsTHEcorestrengthoftheentiresongliesinthefactthatthenatureofthevocals,instrumentation,backingmusicandlyricsallworkinperfect
tandemwithoneanotherincreatinganultrainfectious,engagingandmemorablePOWERBallad.Payattentiontothebigpicturewhilelistening
toeachsectionwithinthesong.

REPETITION&DIVERSIFYINGFACTORS

Hereweregoingtotakealookatthecoresimilaritiesanddifferencesbetweenlikesectionswithinthesong(i.e.bothverses,prechoruses,all3
choruses)toseehowrepetitionwasutilizedinordertogetthesongengrainedwithinthelistenersheadwhilethediversitypreventedthesongasawhole
frombecomingoverlymonotonous,keepingthingsfreshandengagingforthelistenerthroughout.

Verse1vs.Verse2

Repetition

Thevocalmelody

Thenatureofthesynththatwasintroducedinverse1

Diversification

Bothcontaindifferentlyrics(asyouwouldexpect)

Verse2addsstrings,additionalsynths,electricguitarandbassintothemixwhichwerentpresentduringthefirstverseoccurrencewithinthesong.

PreChorus1vs.PreChorus2
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Repetition

Thevocalmelody

Thenatureofthesynththatwasintroducedinprechorus1

Thelyrics(1ststanzainprechorus3)

Diversification

Prechorus2alsoaddsstrings,additionalsynths,electricguitarandbassintothemixwhichwerentpresentduringthefirstprechorusoccurrencewithinthesong.

Additionally,prechorus2incorporatesavocalharmonyintothemixthatwasntpresentthefirsttimearound.

Prechorus3consistsofonly1stanza,whereprechoruses1and2contain2stanzas.

Chorus1vs.Chorus2

Repetition

Thevocalmelody

Thelyricsinthefirststanza(chorus1onlycontains1stanza)

Lines1,4and5acrossbothstanzasinbothsections

Thegeneralnatureofthebackingmusic

Diversification

Chorus2incorporatesasecondstanzaintothemix,changingupthelyricsonlines2and3.

Stringsandacousticguitarhavebeenaddedtothemixwithinthesecondstanzaofthesecondchorus.

Theoveralllevelsarerunningabithotterwithinthesecondchorus.

Chorus2vs.Chorus3

Repetition

Thegeneralframeworkofbothfullchorusesremainsconstant(lyrics,instrumentation,backingmusic,vocalmelody,etc).

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Diversification

Stringsareaddedtothemixwithinthefirststanzainthethirdchorusandcarryrightthroughtheendofthesecondstanza.

Additionalvocalsandvocalharmonyareaddedtothemixinchorus3thatwerentpresentinchorus2.

Theoveralllevelsinchorus3arerunningabithotterthantheywereinchorus2.

SECTIONBYSECTION
Note:Panisrepresentedonascalefrom9:00to3:00(i.e.lefttoright,with12:00beingrightupthemiddle).Keepinmindthatinmostcasesan
instrumentwillbleedthroughouttheentiremix,butthepandepictedhererepresentsitsprimaryplacementinthemix(i.e.wherethelevelismost
pronounced).

Intro(0:000:08)

Vocals&PrimaryInstrumentationFeaturedInTheMix

SynthGroup1(Treblywithatouchofdistortionsolowithinthesectionlevelsebbandflowthroughout)Primaryaround10:00/2:00butspanstheentiremix

Short,straightforwardandconsistingsolelyofsynths,WreckingBallsintroiseffectiveonthefollowinglevels:

Itinstantlyestablishesthevibeofthesong

ThesonicnatureofthesynthscoupledwiththeirassociatedsixteenthnoteDmFCGmprogressioninstantlyestablishesthemelancholy,serious,heavyvibe
thatpervadestheentiresong.Rightoffthebatyouknowthatyourenotinforalight,happygoluckylisteningexperience.Additionally,youalsorealizeatthispointthat
thetitleWreckingBallwillmostlikelyrelatetosomethingthathasgonewrongifyouhaventalreadyguessedthatfromthetitlesimpliedmeaning!

Itimmediatelyhooksthelistenerintothesongandholdstheirattention

Thevibedescribedaboveinstantlycapturesthelistenersattentionandhooksthemintothesong.Beforetheirattentionevenhasachancetostartwandering,the
versehasalreadytakenoverandengagedthematadeeperlevelviaCyrussvocalthathasenteredthemix.Anddontforgettheintroisonly0:08long.

Additionally,noticehowtheebbandflowofthesynthsacttosubtlyaccentuatetheengagementfactorforthelistenerviatheirhypnoticnature.Assubtleasitis,it
doeswondersforthesectionasopposedtoiftheyremainedataconstantlevelthroughout.

Ittransitionsseamlesslyintothefirstverse

Thenatureofthesynthsthatdefinetheintroremainprettymuchunchangedinthefirstverse,withtheonlyadditiontothemixbeingCyrussvocal.Theresultisthat
theviberemainsintact,whiletherepetitionoftheprogressionaccentuatestheoverallmemorabilityfactorofthesong.

Itactsasauniqueidentifierforthesong
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Thesecondyouheartheintro,youinstantlyknowwhatsongitis.Thisenablesittostandoutamongstalloftheothersongsthatarecurrentlytoppingthecharts,
instantlygrabbingthelistenersattentionespeciallyinanairplayenvironment.

TransitionPointIntrointoVerse1:Seamlesstransition.

Verse1(0:080:24)

Vocals&PrimaryInstrumentationFeaturedInTheMix

SynthGroup1(Treblywithatouchofdistortionmidlevelwithinthemixunderthevocallevelsebbandflowthroughout)Primaryaround10:00/2:00butspans
theentiremix

*Effect(Vinylcracklelowlevelwithinthemix)Primaryaround12:00butspanstheentiremix

*LeadVocal(Cyrusmoderatereverb+lowleveldelaynatural,upcloseandpersonalinnatureupfrontwithinthemix)Primaryat12:00butthereverb/delay
traversestheentiremix

*Indicatesanewelementthathasbeenaddedtothemixrelativetotheprecedingsection.

Vibe

Playful,young,anguished,reminiscent,melancholy

Music

ThenatureofthesynthsthatdefinedtheprecedingverseremainconstantduringthefirstversealbeitatalowerlevelinordertoletCyrussvocalshine
frontandcenter.Noticehowtheykeeptheunderlyingmelancholynatureofthesongineffect.

Additionally,alowlevelvinylcrackleeffectentersthemixattheonsetofthesectionandlastsfortheduration,providingsubtlecoloringandtexture
totheoverallsoniclandscape.

Vocal

TheonenewadditiontothemixfromtheprecedingintroisCyrussleadvocal.Notethefollowing:

Thenatureofhervocalcomesacrossinahighlyevocative,naturalmanner,withthelistenerbeingabletoheareverynuanceofhervoiceupcloseandpersonalfrom
thebreathyinhalestothealmostBettyBoopmannerinwhichshesingsthelyricyour.TheresultisthatitenvelopesthelisteneronadeeplevelbecauseTHEYFEEL
whatSHESFEELINGviathemannerinwhichshecommunicatesthelyrics.

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Cyrusalsodoesafantasticjobofshiftingemotionthroughoutthesectioninordertocommunicateallfacetsofthestory.ThealternatingADADprogression
thatencompassesthefirsthalfofeachlineelicitsayoung,sexy,playfulqualitywhichhammershomethepointthatthese2peoplewereinlove,whilethemannerin
whichsheconcludeseachline(i.e.thetailendwhineofwhyanddeny)communicatestheunderlyinganguishthatshesfeeling.Referencethevocalmelodysection
ofthereportforspecifics.

Music&VocalCombined

Together,thenatureofthevocalandbackingmusiccommunicatestheentirepremiseofthestorywithouttheneedforlyrics.Justlistening
youknowthatthereisanunderlyingconstantsadnessbroughtaboutviathenatureofthesynths,whilehervocalcommunicatesthattherewasoncea
playfullovebetweenthese2,butsomethingwentterriblywrong.

TransitionPointVerse1intoPreChorus1:Seamlesstransition.

PreChorus1(0:240:38)

PrimaryInstrumentationFeaturedInTheMix

SynthGroup1(Treblywithatouchofdistortionlow/midlevelwithinthemix)Primaryaround10:00/2:00butspanstheentiremix

*SynthGroup2(Samequalitiesofsynthgroup1exceptthatitsatahigherlevelwithinthemix)Primaryaround12:00

*Effect(Vinylcracklelowlevelwithinthemix)Primaryaround12:00butspanstheentiremix

*LeadVocal(Cyrusmoderatereverb+lowleveldelaymutitrackedwithlowlevelupperregisterharmonyupfrontwithinthemix)Primaryat12:00butthe
reverb/delaytraversestheentiremix

Vibe

Serious,heightenedtension,sadness,younginnocence,loving,hurt

Music

Thefirstthingtotakenoteofregardingthemusicwithintheprechorusisthattheunderlyingsynthprogressionhasbeenchangedupinrelation
totheverseandintrothatprecededit.Here,insteadoffollowingtheDmFCGmprogressionitfollowsBflatDmFBflat.

Thesecondmostobviousthingaboutthebackingmusicwithintheprechorusisthatanadditionalsynthhasenteredintothemix.Noticethatit
possessesessentiallythesamequalitiesasthesynthsthatwerebeingutilizedwithintheverseandintro,butatanoverallhigherlevelwithinthemix.

WhatsreallyinterestingaboutthissynthisthatitbasicallymimicsCyrussvocalmelodyandachievesthefollowing:

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Itaidsingettingthatmelodyfurtherengrainedwithinthelistenershead.

Eventhoughitfollowsbasicallythesamemelodyasthevocal,itsbrighternaturecountersthemoreserioustoneinCyrussdeliverybyelicitingayoung,innocent
typeofvibe,almostinthemannerofachildsmusicbox.

Vocal

HereintheprechoruswefindCyrustakingonanoverallmoreserioustonewithhervocalwhichperfectlyjibeswiththenatureofthelyrics.Notice
howeverthatonceagaintheresashiftthatoccursatthetailendaswesawwiththehurtwhineintheverse.Inthiscase,themannerinwhichshesings
wantyoutakesonasubtlymorequite,lovingtonethoughstillbeingenvelopedwithamelancholyovertone.

Music&VocalCombined

Together,thenatureofthemusicandvocalelicitanumberofemotionalqualitiesthatnotonlyjibewiththenatureofthelyricsathand,butthe
overallstorylineaswell.Youheartheseriousnessinhervoicewhichisfurtheraccentuatedviathenatureofthevocalmelody(referencethatsectionof
thereportforspecifics),youfeelthehurtlovethatshehasforthisguyatthetailendviathemannerinwhichshesingswantyou,andyousensethe
playfulinnocenceelicitedviathesynththatsmimickinghervocalthroughoutthesection.

Additionally,noticetheheighteneddegreeoftensionandanticipationintheairthatwasbroughtaboutviathenatureofthevocalandbacking
music.Yougetafeelingthroughoutthesectionthatabigchorus/payoff/hookloomsonthehorizon,andasaresultsucksyourattentionevendeeperinto
thesong.

TransitionPointPrechorus1intoChorus1:Atthetailendoftheprechorusallthatremainsisasolo16thnoteBflatsynthprogressionthat
graduallyfadesfromthemixrightthroughthepowerfulsolointrolinetothechorusatfollows.Theentiretransitiontakesjust0:04butseemslikea
eternitywithallthetensionandsuspenseintheairinanticipationofthehugepayoffthatloomsrightaroundthecorner.

Chorus1(0:421:02)

PrimaryInstrumentationFeaturedInTheMix

*Drums(Ultracompressed,powerfulandupfrontwithinthemix.Thekickpossessesabooming/dullcompressedthudessence,whilethesnareprovidescontrastviaits
brightcrackofawhipnaturethatlingerswitheachhituntilthekickreentersagain.TheuseoftheridecymbalroundsoutthesoniclandscapeandaccentuatesthePower
Balladessenceofthesong,whilethecrashaccentuatesthewreckingballslamattheonsetofthesection.)Primaryaround10:00/2:00butspanstheentiremix

*ElectricGuitar1(Possessesaheavybrightdistortionnaturethatisatitspeaklevelwithinthemixattheonsetofthesection.Itsatalowtomidlevelfortheduration.)
Primarybetween11:001:00

*ElectricGuitar2(Brightdistortionmidlevelwithinthemix)Primaryaround2:00

*Piano(Acousticinnaturelow/midlevelwithinthemix)Primarybetween9:0011:00
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*Synth(Brightlowtomidlevelwithinthemix)Primarybetween10:002:00

*Bass(Low,dullandcompressedmidlevelwithinthemix)Primaryat12:00

*Effect(Vinylcracklelowlevelwithinthemix)Primaryaround12:00butspanstheentiremix

LeadVocal(Cyrusmoderatereverb+delaymutitrackedupfrontwithinthemix)Primaryat12:00butthereverb/delaytraversestheentiremix

*Indicatesanewelementthathasbeenaddedtothemixrelativetotheprecedingsection.

Vibe

Powerful,passionate,soaring,pleading,solemn

Iftherewaseverasectionwithinasongwherethenatureofthemusicperfectlyjibedwithandaccentuatedthenatureofthelyrics,thisisit.

KeyPointsToNote

TheSetUp,Impact&MagicMoment#1

LetsfirsttakealookathowWreckingBallschorusbegins.Noticethatthereareessentially3stagesthattranspirefromsetuptoimpactas
follows:

Stage1

Thetrailoffofthesynthatthetailendoftheprechorusheightensthetension,suspenseandanticipationaspreviouslymentioned.Noticehowthe
quietalsoprovidesthechoruswithgreaterperceivedimpactwhenithits.

Stage2

Asthesynthistrailingoff,CyrusslamsinwiththeintensesolomultitrackedIcameinlikeavocal.

Noticehowthenatureofhermonotonesixteenthnoterapidfiredeliveryperfectlyjibeswiththenatureofthelyricsandaccentuatesthe
imageryofthesection.Thinkaboutitthiswaythemannerinwhichshesingsthatlineislikeawreckingballonatrajectorytomakeimpactintotheside
ofabuilding,(i.e.itscominginforimpact).

Stage3

Andhere,finally,isthemagicmomentpayoffthatoccursonthetitlelyricswreckingballwhichthesonghadbeenbuildingtowardfromtheintro
throughtheleadinlineonstage2above.Whydoesitclassifyasamagicmomentinadditiontojustbeingareallystrongpayoff?Becauseofthe

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following:

Itstheculminationoftheimagerythatstartedinstage2asdetailedabove.Hereiswherethewreckingballfinallymakesimpactintothesideofthebuilding,andis
broughtaboutinthemusicviavirtuallyalloftheinstrumentationthatsbeingutilizedwithinthemixconvergingonthat1pointofimpact.Noticehoweverthatitsthe
natureofthekick,crashanddistortedelectricguitarwhichprovidesthehighestdegreeofimpactfulpower.

IncontrasttoCyrussrapidfire16thnotemonotonenaturedleadindeliveryonthelyricsIcameinlikeainstage2,shepassionatelysoarsinthemannerinwhich
shesingsthepayofflyricswreckingballviatheBflatAAGprogression.Referencethevocalmelodysectionofthereportforspecifics.

Combined,themannerinwhichthenatureofthemusicandvocalworkintandemwithoneanotherinaccentuatingthemeaningofthe
titlelyriciswhytheonsetofthechorusisnotjustapayoff,butasongdefiningmagicmomentaswell.

TheSectionalWreckingBallElement

Followingtheimpactthatoccurredinstage3above,noticehowthenatureofthedrumskeepthewreckingballvibeineffectforthedurationofthe
section.Notethefollowing:

Takenoteofthesectionsstraightaheadrhythm.Thekickcomesinon1&3whilethesnarehitson2&4.Theresultisthatitgivestheimpressionofawreckingball
constantlyslammingintothesideofabuilding.

Thesonicqualitiesofboththekickandsnaredoafantasticjobofaccentuatingthewreckingballelementwithinthesectionaswell.Thekickislikeabooming,deep,
ultracompressedthud,whileincontrastthesnareislikeabrightcrackofawhip.That,combinedwiththefactthattheyrewayupinthemixprovidesthesectionwithits
continuouswreckingballnature.

Thecharacteristicsdetailedaboveperfectlyjibewithandaccentuatethenatureofthetitlelyrics,wreckingball,ultimatelyhelpingtoput
thesectionsalreadyultrainfectious,memorablenatureoverthetop.

ThePiano

Anewinstrumentthathasbeenaddedtothechoruswhichwasntinthemixduringtheintro,verseorprechorusisthepiano.Noticetheclever,infectious
mannerinwhichitsbeingutilized.Essentiallyitsmimickingtheleadvocalmelodyinthesamewayinwhichtheadditionalsynthdidwithinthepre
chorus.Itsdifferingsonicqualitiesfromthevocalenablesittostandoutandresonate,ultimatelygettingthemelodyfurtherengrainedwithinthe
listenersheadinadditiontoaddingincreasedcoloringtotheoverallsoniclandscapeofthesectionaswell.

SectionalContrast

Incontrasttothesparse,morequietnatureoftheintro,verseandprechorusthatprecededit,thechorusiswherethePOWERinPOWERBALLAD
comesintofulleffect.Thedifferingsonicqualitiesbetweenthesesectionsisoneofthecorefactorsthatmakesthesongsoinfectious,engagingand
powerful.

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TheLeadVocal&MagicMoment#2

OnethingthatisalwaysbroughtupintheseHitSongsDeconstructedreportsistheimportanceofsingingitlikeyoumeanit.Whenanartistreally
connectswiththelyricsandbringsthemtolifeviathenatureoftheirdelivery,itsoneofthemostimportantfactorsinturningasongfrombeingreally
goodintoamassivehit.

ThisisexactlywhatCyrusbringstothetablehereinthechorus,andtheothersectionsaswellforthatmatter.Hersoaringdeliveryisultraevocativeand
perfectlyjibeswithandaccentuatesthepowerandhurtthatsbeingconveyedwithinthelyrics.

Theicingonthecake,however,istheclevermannerinwhichshesingsthemagicmomentfinallyricsonthelast2linesofeachstanza,breaea
eakmeandwreeeckme.Notonlydotheytaketheinfectiousnatureofthesectiontothenextlevel,buttheuniquemannerinwhichshesings
themgetscompletelyengrainedwithinthelistenersheadandasaresultresonateslongafterthesonghasended.

AsAWhole

WreckingBallschorus,pureandsimple,hasitall.Alloftheelementsarefiringonallcylinders,perfectlyjibingwithoneanotherincreatingan
exceptionallyinfectious,engagingandmemorablepayoffforthelistener.Themagicmoments,however,aretheicingonthecakewhichputsboth
thesectionandsongasawholeoverthetop.

TransitionPointChorus1intoVerse2:Seamlesstransition

Verse2(1:021:18)

PrimaryInstrumentationFeaturedInTheMix

SynthGroup1(Similarinnaturetoverse1lowtomidlevelwithinthemix)Primarybetween11:00and12:00

*Strings(Kicksoffwithcelloattheonsetwithadditionalstringsenteringthemixtowardtheendofthesectionlowtomidlevelwithinthemix)Primaryaround12:00

*Synth(Airyinnature,fluctuatesbetweenlowtomid/upwithinthemix)Alternateslefttorightwithinthemix

*ElectricGuitar(Primarilycleanwithmoderatereverbentersduringthesecondhalfofthesectionverylowleveltowardthebackofthemix)Primarybetween
10:00and11:00

*Bass(Low,dullandcompressedmid/upwithinthemix)Primaryaround12:00

*ColorAdder(Singlenotesynthhitswithamplereverblowtomidlevelwithinthemix)Primaryaround10:00

*Effect(Vinylcracklelowlevelwithinthemix)Primaryaround12:00butspanstheentiremix

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LeadVocal(Cyrusreverb+lowleveldelaysolovocalupuntilthetailendonthelyricswereashesonthegroundwheretheharmonyvocalisemployedupfront
withinthemix)Leadaround12:00,harmonyspansthemix

*Indicatesanewelementthathasbeenaddedtothemixrelativetotheprecedingsection.

Theprimarydifferencebetweenverse1andverse2(besidesthelyrics)istheadditionalinstrumentationthathasbeenaddedintothemix.The
natureofCyrussvocalandcorrespondingvocalmelodyremainedvirtuallythesame,whichasyouknowheightensthememorabilityfactorforthe
listener.Notethefollowing:

IncreasedEngagement

Notonlydoesthenatureoftheshiftinthesecondverserelativetotheprecedingchorusmaintainandheightenthelistenersengagementwithin
thesong,butthefactthatthesoniclandscapediffersinnaturefromthefirstverseviatheintroductionofthestrings,synth,bassandelectricguitarinto
themixtakestheengagementvaluetothenextlevelviatheincreaseddegreeofcoloring.

ThePowerAccentuator

Asyouvebynownoticed,thedrumswerepulledfromthemixatthetailendofthechorusandremainabsentduringtheentiresecondversethatfollows.
Inordertoprovidediversityandincreasedpowerrelativetothenatureofthefirstversewithinthesong,anmidtoupfrontbasscomesinto
effectduringthesecondhalfofthesection.

TransitionPointVerse2intoPreChorus2:Seamlesstransition

PreChorus2(1:181:32)

Aswasthecasebetweenverse1andprechorus1,verse2andprechorus2sharethesamebasicinstrumentationbeingfeaturedwithinthemix,
whichaidsintheseamlesstransitionbetweensections.

Additionally,prechoruses1and2bothpossessthesamevocalmelodyanddeliveryexceptfortheadditionalharmonyonthelyricslivealieand
formylife(whichfurtheraccentuatestheengagementandcoloringofthesection),aswellaswellasutilizingthesamelyricswhichincreasesthesongs
overallmemorabilityfactor.

Thecoredifferencebetweenthe2occurrencesstemsfromtheinstrumentationbeingutilizedwithinthemix.This,aswasthecasebetweenboth
versesections,accentuatestheengagementvalueforthelistenerviatheincreasedcoloring.

TransitionPointPrechorus2intoChorus2:Forgoingthetransitionalpausethatoccurredbetweenprechorus1andchorus1,CyrusssoloI
cameinlikeavocaldirectlyfollowstheendoftheprechorus2,instantlyjoltingthelistenerbackintothesongspayoff.

Chorus2(1:342:08)
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Essentiallytheoverallnatureofthesecondchoruswithinthesongisverysimilartothatofthefirst.The2primarydifferencesincludethefact
thattheoveralllevelsarerunningabithotterwhichprovidesasubtlyincreaseintensityrelativetothefirsttimearound,aswellasthefactthat
thereare2stanzasasopposedto1.Notethefollowing:

Lines1,4and5remainthesamebetweenbothstanzaswhilelines2and3differ(refertothelyricsectionfordetails).

Noticethatastrummingacousticguitarhasbeenaddedtothemixwithinthesecondstanzawhichbothprovidesincreasedcoloringtothesectionaswellasproviding
forsubtlyincreasedmomentum.

Mostnoticeably,stringshavebeenaddedtothemixwhichtakesthesectionsoverallsoaring,evocativenaturetothenextlevel.

Allinall,thesecondstanzaistheapexofwhatyouwouldexpecttohearinacharttoppingPOWERBALLAD!

TransitionPointChorus2intotheBridge:Seamlesstransition.

Bridge(2:102:42)

Vocals&PrimaryInstrumentationFeaturedInTheMix

Strings(Midtoupperlevelwithinthemix)Spanstheentiremix

Piano(Midtoupperlevelwithinthemix)Spanstheentiremix

Bass(Low,dullandcompressedmid/upwithinthemix)Primarybetween10:00and12:00

Effect(Vinylcracklelowlevelwithinthemix)Primaryaround12:00butspanstheentiremix

LeadVocal(Cyrusmoderatereverb+lowleveldelaynatural,upcloseandpersonalinnatureupfrontwithinthemix)Primaryat12:00butthereverb/delay
traversestheentiremix

Vibe

Sorrow,hurt,realization,fragile/delicatebeauty,exhaustion

Music&Vocal

HereinthebridgeiswhereCyruscomestotherealizationthatmaybeitwasherforceful,wreckingballtacticsthatcausedthedemiseoftherelationship,
culminatinginherlosingtheloveofherlife.

Inordertoaccentuatethenatureofthelyricsthatconveythis,theoverallnatureofthemusicandCyrussvocaldeliveryshiftgeartomakeit
happenasfollows:
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Themusicisnowbeingdominatedbyhighlyevocativestringsandpianowiththeupfrontbassanchoringthesectiontogether.Noticehowthenatureofthepiano
providesafragile,delicatebeautytothesection,whilethestringsprovidethelumpinyourthroatelement,accentuatingthehurtrealizationbeingconveyedvia
thelyricsandCyrussvocaldelivery.

Andspeakingofthevocal,hereCyrusdoesafantasticjobofperfectlyconveyingalloftheemotiondepictedwithinthevibesectionabove.Again,shessingingitlikes
shemeansit,andasaresultconnectswiththelisteneronadeeplevelbecausetheycanfeelwhatshesfeeling.

Combined

Aswithalloftheothersectionsofthesong,hereweonceagainfindtheperfectmarriagebetweenlyrics,vocalandmusicincreatinganultra
evocativelandscapethatconnectswiththelisteneronadeeplevel.

TransitionPointBridgeintoChorus3:Seamlesstransition

PreChorus3(2:422:49)

SomethingthatyounormallydontseewithincharttoppingPophitsistheuseofathirdprechorus,especiallyfollowingthebridge.Usuallyafterthe
bridgetheygodirectlybackintothechorus.

InthecaseofWreckingBall,breakingfromthenormcertainlyworkedinthesongsfavor.Followingtheultraevocative,piano/string/bassnatured
bridge,everythingispulledfromthemixexceptforCyrussvocal,lowlevelpianoandvinylcrackle.

Theresultisthatthelistenerisprovidedwithabare,intimaterecitation(NOTtalkingaboutthevideohere)ofthefirststanzaofthepre
chorus,dontyoueversay,Ijustwalkedaway.Iwillalwayswantyou.This,plusthebriefsilencethatoccursatthetransitionpointdoesafantastic
jobofsettingupthefinalchorusthatfollows,providingitwithamuchheighteneddegreeofperceivedpowerwhenithits.

TransitionPointBridgeintoChorus3:Sametransitionaswasthecasebetweenprechorus1andchorus1

Chorus3(2:523:30)

Hereinthethirdandfinalchoruswefindthesectionsevocativeintensityreachingaitshighestlevelrelativetotheotheroccurrenceswithinthesong.
Notethefollowingkeydifferencescomparedtothesecondchorusoccurrencethatmadethishappen:

Theoveralllevelsarerunningattheirhottestlevelwithinthesong.

Thestringsarefeaturedprominentlywithinthemixrightoutofthegateinthefirststanza(rememberthattheyenteredwithinthesecondstanzaduringthesecond
chorusoccurrencewithinthesong).

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Thereareadditionalvocalsandvocalharmonybeingfeaturedprominentlywithinthemix,whichbothaidsinprovidingdifferentiationfromtheotherchorus
occurrencesaswellasincreasingtheengagementvalueforthelistener.

Combined,theelementsdetailedabovebringthePOWERofthisPOWERBalladtoarousingcrescendo,leavingthelisteneronanemotional,soaring
highattheconclusionofthesong.

Ending

Atthetailendofthechorus,noticethatalloftheinstrumentationispulledfromthemixexceptfortheguitar,pianoandride.Thisachieves2keythings:

Itprovidesanabruptdownshiftinintensity,helpingtoputthelistenermoregentlybackonthegroundthanifthesongendedabruptlyontheintensenatureofthe
fullchorus.Allinall,itshelpingtofosterresolution.

Italsoenablesthefinalphraseofthesong,youwreeeckme,(whichasyouknowalsohappenstobeapartialtitlelyric),tofurtherjumpoutandresonate,leavingthe
listenerwithonelastultrainfectiouselementtoresonatewithintheirheads.

Vocal Melody BacktoTop

Inadditiontostrong,effectivelyricsandevocativebackingmusic,whatreallyhooksthelistenerintoasongisaninfectious,engagingand
memorablevocalmelodydeliveredinacompellingmanner.

SomeofthecharacteristicsandattributesthatyoullfindwithinWreckingBallsvocalmelodythatmakesitsoinfectious,engagingandmemorable
include:

ShortPhrases/Segmenting(i.e.thephonenumbermethod)

Enablesthemelodytoeasilyconnectandgetengrainedwithinthelistenershead.
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Simplicity(K.I.S.S.)

Easytofollowmelodicprogressionscoupledwitheffective,engagingrhythm.

Repetition

Variousmethodsofrepetitionwereutilizedwithinthevocalmelodythroughoutthesongtohelpgetitengrainedwithinthelistenersheadincluding:

InLineRepetition:Phrases/segmentswithinaparticularlinethatrepeatinthesameorclosetothesamemanner.

InStanzaRepetition:Linesorpartsoflineswithinastanzathatrepeatinthesameorclosetothesamemanner.

CrossStanzaRepetition:Lineswithin2differentstanzasthatpossessthesamegeneralcharacteristics.

SectionalRepetition:Linesorstanzasfrom1particularsectionthatrepeatinthesameorclosetothesamemannerduringadditionaloccurrenceswithinthesong(i.e
prechorus1vs.prechorus2).

Diversifiers&ColorAdders

Specificphrases,lyricsorevensyllablesthatworktoincreasetheinfectiousnatureofasectionaswellasbreakupthemonotonyoftherepetition.

Section/SongDefiningMagicMoments

Theultrainfectious,clevermannerinwhichspecificphrasesorlyricsaresungthathelpputthesongoverthetop.

GRAPHICALKEY
BlueLine:LeadVocalMelody
RedDiamond:Rest
BlackDiamond:Half&DottedHalf
BlueDiamond:Quarter&DottedQuarter
GreenDiamond:Eighth&DottedEighth
YellowDiamond:SixteenthNote

VERSE1

1stStanzaLines1&2

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2ndStanzaLines3&4

VERSE2

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1stStanzaLines1&2

2ndStanzaLines3&4

LineReference

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VERSE1

FirstStanza

Line1:Weclawedwechainedourheartsinvain
Line2:Wejumpedneveraskingwhy

SecondStanza

Line3:WekissedIfellunderyourspell
Line4:Alovenoonecoulddeny

VERSE2

FirstStanza

Line1:Iputyouhighupinthesky
Line2:Andnowyourenotcomingdown

SecondStanza

Line3:Itslowlyturnedyouletmeburn
Line4:Andnowwereashesontheground

VocalRange

High:A
Low:G

LINELENGTH&SEGMENTATION
(Arethelines&phrasesamouthfultosingoraretheybrokenintoshort,memorablesegments?)

BothstanzasinWreckingBallsversesectionsconsistofonelongsegmentthatstretchesover2linesfollowedbyashorter,memorabilityaccentuator
segmenttoconclude.

Typicallyyouwouldexpecttofindapause(rest)implementedtosegmentonelinefromthenextwithinastanza.ThisisNOTthecasewithWrecking
Ballsversesections,however.Instead,thelastlyriconthefirstlineofeachstanzapossessesaneighthnotevalueandcontinueswithoutapause
rightintoline2thatfollows.Thesegmentationoccursafterthesecondlyriconline2ineachstanza:

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Key
BlueFont:Line1
RedFont:Line2

FirstVerseFirstStanza

Weclawedwechainedourheartsinvainwejumped/neveraskingwhy

FirstVerseSecondStanza

WekissedIfellunderyourspellalove/noonecoulddeny

SecondVerseFirstStanza

Iputyouhighupintheskyandnow/yourenotcomingdown

SecondVerseSecondStanza

Itslowlyturnedyouletmeburnandnow/wereashesontheground

Notonlydoyouhavearestthatputsthesegmentationintoeffect,butasyoullseewithintherhythmsectionthatfollowsthelyricthatprecedestherest
ineachstanzaalsopossessesaslightlyprolongeddurationinrelationtotheotherlyrics(i.e.adottedeighth)whichfurtheraccentuatesthe
pronouncementofthesegmentation.

Additionally,noticethatthesecondsegmentwithineachstanzaistherhyming(memorabilityaccentuator)segment.Havingtheseparticular
phrasessegmentedfromtherestaccentuatestheirrhymingnatureandenablesthesectionasawholetogetfurthergetengrainedwithinthelisteners
head:

FirstVerse:neveraskingwhy/noonecoulddeny

SecondVerse:yourenotcomingdown/wereashesontheground

FirstVerse

1stStanza

Line1:Weclawedwechainedourheartsinvain

Word/SyllableCount:8words/8syllables

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SegmentationMethod:Nonelastlyricisaneighthnote

Line2(Full):Wejumped/neveraskingwhy

Word/SyllableCount:5words/6syllables

Line2(Phrase/Segment1):Wejumped

Word/SyllableCount:2words/2syllables

SegmentationMethod:EighthRest

Line2(Phrase/Segment2):neveraskingwhy

Word/SyllableCount:3words/4syllables

SegmentationMethod:EighthRest

2ndStanza

Line3:WekissedIfellunderyourspell

Word/SyllableCount:7words/8syllables

SegmentationMethod:Nonelastlyricisaneighthnote

Line4(Full):Alove/noonecoulddeny

Word/SyllableCount:6words/7syllables

Line4(Phrase/Segment1):Alove

Word/SyllableCount:2words/2syllables

SegmentationMethod:EighthRest

Line4:(Phrase/Segment2):noonecoulddeny

Word/SyllableCount:4words/5syllables

SegmentationMethod:QuarterRest

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SecondVerse

FirstStanza

Line1:Iputyouhighupinthesky

Word/SyllableCount:8words/8syllables

SegmentationMethod:EighthRest

Line2(Full):Andnow/yourenotcomingdown

Word/SyllableCount:6words/7syllables

Line2(Phrase/Segment1):Andnow

Word/SyllableCount:2words/2syllables

SegmentationMethod:EighthRest

Line2(Phrase/Segment2):yourenotcomingdown

Word/SyllableCount:3words/4syllables

SegmentationMethod:EighthRest

SecondStanza

Line3:Itslowlyturnedyouletmeburn

Word/SyllableCount:7words/8syllables

SegmentationMethod:EighthRest

Line4(Full):Andnow/wereashesontheground

Word/SyllableCount:7words/8syllables

Line4(Phrase/Segment1):Andnow

Word/SyllableCount:2words/2syllables

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SegmentationMethod:SixteenthRest

Line4(Phrase/Segment2):yourenotcomingdown

Word/SyllableCount:3words/4syllables

SegmentationMethod:QuarterRest

PROGRESSION&RHYTHM
(Isthenatureoftheprogressionandrhythmsimplisticorcomplex?Whatstheflow?)

AsisthecasewiththevastmajorityofcharttoppingPophits,thenameofthegamewhenitcomestothevocalmelodyisINFECTIOUSSIMPLICITY.
Thelistenerneedstobeabletogetengagedwithouthavingtoworkatitcoupledwithamemorablenaturethatmakesitimpossibleforthemtoshakeout
oftheirheads.

ThisisthecasewithWreckingBallsversesections.

GeneralFlow

Asyoullseebelow,bothstanzaswithinbothversesectionsarealmostidenticalinnaturefrombothaprogressionandrhythmicstandpoint,which
doesafantasticjobofgettingthemelodycompletelyengrainedwithinthelistenershead.

Essentially,eachstanzaisbrokeninto3individualsegmentsasfollows:

Segment1:Lines1&3inbothversesections

Weclawedwechainedourheartsinvain

WekissedIfellunderyourspell

Iputyouhighupinthesky

Itslowlyturnedyouletmeburn

Segment2:Thefirst2lyricsonlines2&4

Wejumped

alove

andnow
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andnow

Segment3:Thelastphraseonlines2&4

neveraskingwhy

noonecoulddeny

yourenotcomingdown

wereashesontheground

LINES1&3BOTHVERSESECTIONS

Heresaperfectexampleofareallyinfectious,engagingandmemorablevocalmelody.TheAD/ACprogressioncoupledwiththealleighth
noterhythmcreatesauniquemelodythatcompletelystandsoutandeasilygetsengrainedwithinthelistenersheadduetoitssimplisticandrepetitive
nature.

Progression

Thefollowingprogressionrepeatsinthesameexactmanneronlines1&3inbothversesections:

ADADACAC

Line1/Verse1:Weclawedwechainedourheartsinvain

Line3/Verse1:WekissedIfellunderyourspell

Line1/Verse2:Iputyouhighupinthesky

Line3/Verse2:Itslowlyturnedyouletmeburn

NoticethatthefirsthalfofeachlinealternatesviaAD,whilethesecondhalfdifferentiatesjustabitbydroppingdowntoCwhilekeepingthehighAin
place.Thissubtlevariationiswhatkeepsthelineasawholefrombecomingoverlymonotonous.

Rhythm

Thealleighthnoterhythmaccentuatestheengagingandmemorablenatureoftheprogressiondetailedaboveviaitsstraightforwardrepetitive
nature.Itdoesntgetmuchmoresimplisticthanthis.

LINES2&4BOTHVERSESECTIONS
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Hereonlines2and4wefindadeparturefromthenaturethatdefinedlines1and3thatprecededthem.Asyoullsee,thereare2individual
segmentsthatcompriseeachline.

Thefirstactstoprovideadramaticelementtothesectionviathemannerinwhichitinstantlybringstheflowthatdefinedlines1&3toaconclusion
whileatthesametimesettingupthememorabilityaccentuatorsecondphrasethatfollowsviaitscliffhangernature.

Progression

Segment1

Line2/Verse1:Wejumped

Line4/Verse1:alove

Line2/Verse2:andnow

Line4/Verse2:andnow

Thefirstthingtonoticeaboutthesesegmentsisthefactthattheyreveryshort,consistingofjust2lyricsand3syllables.

Second,noticethatallofthesesegmentsfollowthesameprogressionviaCED.

Andthird,noticethatthesecondlyricineachsegmentisstretchedpasseditsnormalsyllablecountviaanEDprogression.This,alongwith
theirprolongeddurationrelativetotheotherlyricswithinthesectionprovidestheselyricswithincreasedcoloringandemphasisaswellasactsinthe
mannerofacliffhangerforthememorabilityaccentuatorphrase/segmentthatfollows.

Segment2

Line2/Verse1:neveraskingwhy

Line4/Verse1:noonecoulddeny

Line2/Verse2:yourenotcomingdown

Line4/Verse2:wereashesontheground

Aswasthecasewithsegment1,allofthesegment2occurrencesfollowthesameprogressionviaEDEFD.Theonlyminorvariation
occursattheonsetofthesegmentonline4,verse2wherethereisanadditionallyric,werethatdropsdowntoaG.

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KeepinmindthatsimplicityisinfulleffecthereaswellconsideringthatexceptforthefinalFDdescentattheendofthesegmenttheprogression
consistssolelyofwholeandhalfsteps.

AlsonoticethatthesesegmentsinitiallycarryonwiththesameEDprogressionthatdefinedsegment1thatprecededthem,butdifferentiate
towardtheendviatheclimbuptoFonthesecondtolastsyllable/lyricofthephrase.Thisclimbactstosetupandaccentuatetheimpactofthefinal
lyricofeachphraseviaadropdowntoD,whichalsohappenstobetherhymeroneachline.

TheresultitaccentuatesthenatureoftherhymeviatheFDprogressionandthat,coupledthemannerinwhichallofthoselinesconcludeinthe
samemannergetsitcompletelyengrainedwithinthelistenershead.

Rhythm

Segment1

Incontrasttolines1and3whereallofthelyricsareeighthnotes,thefirstlyriconlines2and4possessasixteenthnotevaluewhichisthenfollowed
bythestretchedlyricsasmentionedearlierwhichpossessalongerdottedeighthvalue.

Again,alongwiththenatureoftheprogression,thesixteenth/dottedeighthcomboactstoheightenthedramaticvibeofthestanzaviathe
initialurgencyelicitedviathesixteenthnotefollowedbytheprolongednatureofthelyricthatfollows.

Segment2

Incontrasttosegment1,thefirst4syllablesineachsegment2occurrenceconsistofarapidfiresixteenthnotedelivery.Thelastsyllable,
however,possessesthelongestnotedurationofthesectionviaaquarternotevalue.Noticehowthis,alongwiththesetupviathenatureofthe
progressionasmentionedearlieractstofurtheraccentuatethenatureandimpactoftherhyme.

REPETITION
(Howisrepetitionutilizedtogetthemelodyengrainedwithinthelistenershead?)

Asyouvebynownoticed,thereisasignificantamountofrepetitionbeingutilizedwithinWreckingBallsversesections.Theresultisthatnotonly
doestherepetitiongeteachindividualsectionengrainedwithinthelistenershead,butthefactthatbothsectionsrepeatinnearlyanidenticalmanner
helpstogetthesongasawholestuckinthelistenersheadaswellbyprovidinganalmostidenticalsectionalrevisit.

InlineRepetition

Lines1and3withinbothversesectionsconsistentirelyofeighthnotes.

Lines1and3withinbothversesectionsfollowvirtuallythesamealternatingprogressionthroughouttheentirelinewithjustaminordifference(i.e.ADAD
ACAC).

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CrossLineRepetition

Lines1&3utilizethesameexactprogressionandrhythm.

Lines2&4utilizethesameexactprogressionandrhythmwithjust1minordifferenceinline4,verse2.

CrossStanzaRepetition

Stanzas1&2withinbothversesectionsrepeatinthesameexactmannerwithjustthat1minordifferenceonline4,verse2.

CrossSectionalRepetition

Verses1&2repeatinthesameexactmannerexceptfortheonedifferenceasmentionedabove.

DIVERSIFYINGFACTORS
(Whatdiversitywithinthemelodyisutilizedtopreventtherepetitionfrommakingthingstoomonotonous?)

Consideringthateachstanzarepeatsinanidenticalmannerthroughoutthesongexceptforoneoccurrence(whichwellgettoinaminute),weneedtolook
atthediversitythattakesplacewithineachindividualstanzatoseehowthingsarekeptfreshandengagingforthelistenerwhileavoidingmonotony.

Lines1&3

Consideringthattheselinesdonotcontainanysegmentationandutilizethesameeighthnoterhythmthroughout,theonlydifferentiationliesinthe
natureoftheprogression.Aspreviouslymentioned,thefirsthalfofthelinealternatesAD,whilethesecondhalfdifferentiatesjustabitviaA
C.Assubtleasitis,itsenoughtokeepthingsfrombecomingoverlymonotonous.

Lines2&4

Asyouknowbothoftheselinesarebrokeninto2individualsegments,bothofwhichdifferinnaturefromoneanotherasdescribedearlier.

Line4,Verse2,Segment2

Aspreviouslymentioned,thereisanadditionallyric,were,thatkicksthesegmentoffanddoesnotoccuranywhereelseineitherofthesections.Itis
alsotheonlytimewheretheprogressiondipsdownbrieflytoaGbeforecontinuingoninthesamefashionasalloftheotherlikesegments.

COLORADDERS&EMPHASIZERS
(Arecertainlyricssunginacertainmannertoprovideincreasedemphasisandcoloring?)

Thereare3primarycoloradder/emphasizersthatdoafantasticjobofaccentuatingthenatureofthevocalmelodywithintheversesectionsof
WreckingBall:
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Line1&3Alternation

ThemannerinwhicheachlyricalternatesviaADandAConthelinecomesacrossinaunique,exceptionallyinfectiousmanner.

Lines2&4Segment1

Thenatureoftheseshortsegmentsactstobringtheprecedinglinetoanend,heightentheoveralldramaofthestanza,andactinthemannerofa
cliffhangerforthesegment/phrasethatfollows

Lines2&4Segment2FDprogression

ByclimbinguptoanFonthesecondtolastlyricoftheline,itbothsetsupandprovidestherhyminglyricthatfollowswithincreasedemphasis.

PRECHORUS

1stStanza

2ndStanza

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*Correctionthelast2lyricsinbothstanzaspossesseighthanddottedeighthtiming,respectively.

LineReference

Line1:DontyoueversayIjustwalkedaway
Line2:Iwillalwayswantyou
Line3:Icantlivealierunningformylife
Line4:Iwillalwayswantyou

VocalRange

High:D
Low:F

LINELENGTH&SEGMENTATION
(Arethelines&phrasesamouthfultosingoraretheybrokenintoshort,memorablesegments?)

Hereintheprechoruswefindbothstanzasconsistingof3segments(phrases)thatarerelativelyshortinnature,withthefirst2oneachline
consistingofjust5syllablesandthelastconsistingof6.

FirstStanza:Dontyoueversay/Ijustwalkedaway/Iwillalwayswantyou

SecondStanza:Icantlivealie/runningformylife/Iwillalwayswantyou

Notethatthesegmentationthatoccursaftereachofthefirst2phrasesineachstanzaisNOTbroughtaboutbyarestasyouwouldtypicallyexpect.
Instead,thelastsyllableineachphrasepossessesaneighthnotevalue,whichprovidesaprolongedfeelinginrelationtothe2sixteenthnotes
thatprecedeit.Essentiallywhatitdoesisactinthemannerofacommaafterthefirstphraseinbothstanzasaswellasaquickperiodafterthesecond:

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Key
BlueFont:SixteenthNote
RedFont:EighthNote

FirstStanza

Segment1:eversay

Segment2:walkedaway

SecondStanza

Segment1:livealie

Segment2:formylife

1stStanza

Line1(Full):Dontyoueversay/Ijustwalkedaway

Word/SyllableCount:8words/10syllables

Line1(Phrase/Segment1):Dontyoueversay

Word/SyllableCount:4words/5syllables

SegmentationMethod:Eighthnoterelativetoprecedingsixteenthnotes

Line1(Phrase/Segment2):Ijustwalkedaway

Word/SyllableCount:4words/5syllables

SegmentationMethod:Eighthnoterelativetoprecedingsixteenthnotes

Line2:Iwillalwayswantyou

Word/SyllableCount:5words/6syllables

SegmentationMethod:QuarterRest

Line3(Full):Icantlivealie/runningformylife

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Word/SyllableCount:9words/10syllables

Line3(Phrase/Segment1):Icantlivealie

Word/SyllableCount:5words/5syllables

SegmentationMethod:Eighthnoterelativetoprecedingsixteenthnotes

Line3(Phrase/Segment2):runningformylife

Word/SyllableCount:4words/5syllables

SegmentationMethod:Eighthnoterelativetoprecedingsixteenthnotes

Line4:Iwillalwayswantyou

Word/SyllableCount:5words/6syllables

SegmentationMethod:QuarterNote

PROGRESSION&RHYTHM
(Isthenatureoftheprogressionandrhythmsimplisticorcomplex?Whatstheflow?)

Aswasthecasewiththeversesections,hereintheprechorusweonceagainhaveasectionthatsdefinedbyINFECTIOUSSIMPLICITY,evenmoreso
thantheverses.

GeneralFlow

FollowingtheprogressionthatdefinedtheversewhichconcludedonaD(whichwasthesecondlowestnotevalueinthesection),theprechoruspicksup
whereitleftoffonaDandthenprogressesfurtherdownwardfollowingakickoffmonotonedeliveryasyoullseebelow.

Additionally,alltypesofrepetitionarebeingutilizedthroughoutthesection,whichalongwiththesimplicitygetsthemelodycompletely
engrainedwithinthelistenersheadwithnoeffortrequired.

Progression

Segments1&2

Firstweregoingtolookatthefirst2segmentswithinbothstanzasconsideringthattheypossessthesameexactprogressionandrhythm
(whichwellgettosoon)

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FirstStanza:Dontyoueversay,Ijustwalkedaway

SecondStanza:Icantlivealie,runningformylife

Noticethatthefirst2lyrics/syllableswithineachphrasearesungwithamonotoneDdelivery:

FirstStanza,Segment1:Dontyou

FirstStanza,Segment2:Ijust

SecondStanza,Segment1:Icant

SecondStanza,Segment2:running

ThebalanceofeachphrasecontinuesonwithaDonthefollowingsyllablewhichisthenfollowedbyadescendingCAprogressiontoconclude:

FirstStanza,Segment1:eversay

FirstStanza,Segment2:walkedaway

SecondStanza,Segment1:livealie

SecondStanza,Segment2:formylife

Combined,the2progressionsabovecreateanexceptionallyinfectious,memorable,andverysimplisticvocalmelodyforthelistenertosink
theirteethinto.

Segment3

Theprogressionthatdefinesthethirdandfinalsegmentofbothstanzaspossessesthesamegeneralframeworkastheprecedingsegmentswith2
primarydifferences:

Dvs.C

InsteadofstartingoutonDaswasthecasewiththefirst2segmentswithinthestanza,thethirdsegmentstartsoffonaCandthenprogressesdownwardviaBflatand
A.

DescenttoF

Tobringthestanzatoaconclusion,thethirdsegmentthenfurtherprogressesdownwardrelativetothe2precedingsegmentstoconcludeonF.Rememberthe
precedingsegmentsconcludedonanA.

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Tosumupheresasidebysidecomparisonofthe2progressionsthatdefinetheprechorus:

Segments1&2:DDDCA

Segment3:CCCBflatAF

Additionally,noticetheoverallsimplicityoftheprogressions.AsidefromtheCAandAFdescent,everythingelseiseithermonotone,whole
orhalfstepinnature.

Rhythm

Aswasthecasewiththenatureoftheprogression,thenatureoftherhythmacrossall3segmentsisalsoquitesimplistic,infectiousandmemorable
aswell.

Segments1&2

Letsagainstartwiththefirst2segmentswithineachstanzaconsideringthattheyareidenticalinnature.Bothfollowanexceptionallyinfectious
EighthEighthSixteenthSixteenthEighthrhythm.Noticehowitsbrokenuptojibewiththenatureoftheprogression:

EighthEighth(MonotoneDDelivery)

FirstStanza,Segment1:Dontyou

FirstStanza,Segment2:Ijust

SecondStanza,Segment1:Icant

SecondStanza,Segment2:running

SixteenthSixteenthEighth(DCA)

FirstStanza,Segment1:eversay

FirstStanza,Segment2:walkedaway

SecondStanza,Segment1:livealie

SecondStanza,Segment2:formylife

Segment3

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Initiallythethirdandlastsegmentofeachstanzastartsoffwiththesamerhythmaswasthecasewiththefirst2segments:

EighthEighth(MonotoneCDelivery)

FirstStanza:Iwill

SecondStanza:Iwill

Thebalanceofthesegmentiswherethingsgetchangedupfromthepreceding2.Insteadofutilizingasixteenthsixteentheighthrhythm
onthedownwardprogression,itinsteadpossessesasixteentheightheighthdottedeighthrhythm.Assubtleasthechangeis,itactstoslow
thingsdowntobringthestanzatotheconclusionandprovideadditionaldifferentiationfromthe2segmentsthatprecededit.

REPETITION
(Howisrepetitionutilizedtogetthemelodyengrainedwithinthelistenershead?)

Aswasthecasewiththeversesectionsofthesong,herewithintheprechoruswealsohaveavastamountofrepetitionbeingutilizedinordertoget
thesectioncompletelyengrainedwithinthelistenershead.Notethefollowing:

InlineRepetition

Segments1and2onlines1and3possessthesameexactprogressionandrhythm.

CrossLineRepetition

Lines1and3repeatinthesameexactmanner.

Lines2and4possessaverysimilarprogressionstyledframeworkaslines1and3.

Lines2and4alsokickoffwiththesamerhythmaslines1and3.

CrossStanzaRepetition

Bothstanzasrepeatinthesameexactmanner,bothfromarhythmicandprogressionstandpoint.

CrossSectionalRepetition

Prechoruses1and2areidenticalinnaturewhileprechorus3isahalfprechorus.Notehoweverthatthenatureofthemelodyorrhythmdoesnotchange.

DIVERSIFYINGFACTORS
(Whatdiversitywithinthemelodyisutilizedtopreventtherepetitionfrommakingthingstoomonotonous?)

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Consideringthatsegments1and2withinbothstanzasrepeatinthesameexactmanner,itssegment3thatprovidesthediversityfrombotha
progressionandrhythmicstandpoint.Butaspreviouslymentioned,despitethedifferences,thegeneralframeworkremainssimilartotheother2
inordertokeepthefamiliarity/memorabilityfactorintact.

COLORADDERS&EMPHASIZERS
(Arecertainlyricssunginacertainmannertoprovideincreasedemphasisandcoloring?)

Thereare2primarycoloradder/emphasizersthataccentuatethenatureofthevocalmelodywithintheprechorussections:

Segment1&2Progression&Rhythm

Theentirenatureoftheserepetitivesegmentsareexceptionallycolorful,infectious,engagingandmemorable.

Segment3

Itsalsothecasewiththethirdsegmentaswell,butnoticehowthesloweddownnatureoftherhythm,droptolowernotevaluescoupledwiththemannerinwhichCyrus
singsitaccentuatesthesolemnyetlovingIwillalwayswantyoumeaningofthelyrics.

CHORUS

1stStanzaChoruses1,2&3

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2ndStanzaChoruses2&3

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LineReference

1stStanza

Line1:Icameinlikeawreckingball
Line2:Ineverhitsohardinlove
Line3:AllIwantedwastobreakyourwalls
Line4:Allyoueverdidwasbreaeaeakme
Line5:Yeahyou,youwreeeckme

SecondStanza:Choruses2&3

Line1:Icameinlikeawreckingball
Line2:YeahIjustclosedmyeyesandswung
Line3:Leftmecrouchinginablazingfall
Line4:Allyoueverdidwasbreaeaeakme
Line5:Yeahyou,youwreeeckme

VocalRange

High:Bflat
Low:F

LINELENGTH&SEGMENTATION
(Arethelines&phrasesamouthfultosingoraretheybrokenintoshort,memorablesegments?)

Hereinthechorus(payoff)ofthesongthefirstthingthatyoullnoticeisthatthefirst3linesofthesectionprovidecontrastagainstthesegments
thatdefinedtheprechorusduetotheirlongernature(i.e.8to9syllablesinthechorusvs.5to6intheprechorus).

Lines4and5thatfollow,however,providecontrastagainstthefirst3viatheirsegmentationintoshorterphrasesasfollows:

Line4:Allyoueverdidwas/breaeaeakme

Line5:Yeahyou/youwreeeckme

Thissegmentationachievesthefollowing:

Itprovidesdifferentiationfromthefirst3linesthatprecededthem,makingforamoreengaginglisteningexperience.

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Itaccentuatesthememorabilityfactorviatheshorternatureofthephrases(i.e.shorteriseasiertoremember).

Itaddstothetension/dramafactorwithinthesectionviathecliffhangereffectthatoccursatthetailendofeachofthefirstsegments.

Additionally,noticethatthesyllablecountandsegmentationmethodsremainconstantthroughoutbothstanzas.

1stStanza(AllChoruses)

Line1:Icameinlikeawreckingball

Word/SyllableCount:7words/8syllables

SegmentationMethod:DottedEighthRest

Line2:Ineverhitsohardinlove

Word/SyllableCount:7words/8syllables

SegmentationMethod:EighthRest

Line3:AllIwantedwastobreakyourwalls

Word/SyllableCount:8words/9syllables

SegmentationMethod:EighthRest

Line4(Full):Allyoueverdidwas/breaeaeakme

Word/SyllableCount:7words/10syllables

Line4(Phrase/Segment1):Allyoueverdidwas

Word/SyllableCount:5words/6syllables

SegmentationMethod:LastlyricisprolongedviaQuarter+Sixteenthtiming

Line4(Phrase/Segment2):breaeaeakme

Word/SyllableCount:2words/4syllables

SegmentationMethod:EighthRest

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Line5(Full):Yeahyou/youwreeeckme

Word/SyllableCount:5words/6syllables

Line5(Phrase/Segment1):Yeahyou

Word/SyllableCount:5words/6syllables

SegmentationMethod:EighthRest

Line5(Phrase/Segment2):youwreeeckme

Word/SyllableCount:2words/4syllables

SegmentationMethod:EighthRest

2ndStanza(Choruses2&3)

Line1:Icameinlikeawreckingball

Word/SyllableCount:7words/8syllables

SegmentationMethod:DottedEighthRest

Line2:YeahIjustclosedmyeyesandswung

Word/SyllableCount:8words/8syllables

SegmentationMethod:EighthRest

Line3:Leftmecrouchinginablazingfall

Word/SyllableCount:7words/9syllables

SegmentationMethod:EighthReset

Line4(Full):Allyoueverdidwas/breaeaeakme

Word/SyllableCount:7words/10syllables

Line4(Phrase/Segment1):Allyoueverdidwas

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Word/SyllableCount:5words/6syllables

SegmentationMethod:LastlyricisprolongedviaQuarter+Sixteenthtiming

Line4(Phrase/Segment2):breaeaeakme

Word/SyllableCount:2words/4syllables

SegmentationMethod:EighthRest

Line5(Full):Yeahyou/youwreeeckme

Word/SyllableCount:5words/6syllables

Line5(Phrase/Segment1):Yeahyou

Word/SyllableCount:5words/6syllables

SegmentationMethod:DottedEighthRest

Line5(Phrase/Segment2):youwreeeckme

Word/SyllableCount:2words/4syllables

SegmentationMethod:QuarterRest

***Inthesectionsthatfollowweregoingtolookexclusivelyatthefirststanzaofthechorusconsideringthatthesecondstanzapossesses
virtuallythesamecharacteristicsasthefirst***

PROGRESSION&RHYTHM
(Isthenatureoftheprogressionandrhythmsimplisticorcomplex?Whatstheflow?)

GeneralFlow

FollowingtheprogressionthatdefinedtheprechoruswhichconcludedonanF(whichwasthelowestnotevalueofthesection),thevocalmelodywithin
thechorusinitiallykicksuptoBflatfromwhichitthenprogressesthrough3primarygroupingsasyoullseebelow.Notethatthesegroupsall
possesscharacteristicsthatdifferinnaturefromoneanotheryetalsopossesssimilaritiesaswellwhichactstoaccentuatetheengagementand
memorabilityfactorsofthesectionasawhole.

Progression

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Hereweregoingtotakealookatthe3groupingsofprogressionsthatpertaintobothstanzaswithinthechorus:

Group1:Line1(Theleadinlineofthesection)

Group2:Lines2&3(Theselinesrepeatinvirtuallythesamemanner)

Group3:Lines4&5(Theselinesutilizesegmentationandpossesssimilarcharacteristicstooneanotheraswell)

Group1:Line1

TheMonotoneLeadIn:Icameinlikea

Followingthemoreserious/sombertoneoftheprechorusthatconcludedbydescendingdowntoanF,thechoruskicksoffbyleapinguptoBflatviaa
monotonenaturedsolovocaldeliveryonthelyricsIcameinlikea.Noticethatthisdeliveryachievesthefollowing:

Itprovidesstrongcontrasttothenatureoftheprogressionthatdefinedtheprechorusthatprecededit.

ItprovidestheperfectplatformforCyrussmoreaggressivevocaldeliverytoshinewhichjibeswiththenatureofthelyrics.

Itperfectlysetsupthepayofflyricsthatfollowandenablesthemtostandoutandresonateviathechangeupinthenatureofitsprogression.

Allinall,thesolomonotonenatureofthevocaldeliverycoupledwiththeaggressivemannerinwhichCyrussingsitshocksthelistenerintothe
sectionandfullycommandstheirattention.

ThePayoffLyrics:WreckingBall

Followingthemonotonesetup,thetitle(payoff)lyricsofthesectionfollowinachangedupmannerwhichenablesthemtostandoutandresonatedue
tothecontrasttothenatureofthedeliverythatprecededthem.Notethefollowing:

BothlyricsfollowadescendingprogressionviaBflatAAG,whichcontraststhemonotoneBflatdeliverythatprecededit.

Bothlyricsaresungwith2differentnotevalueswhichprovidesthemwithenhancedcoloring.ThelyricwreckingspansBflatandG,whileballisextended
pastitsnormalsyllablecountviaAGtoconclude.

Group2:Lines2&3

Hereweregoingtotakeanindividuallookatthe2independentfacetsthatcomprisebothlines.

Facet1:FBflatAGF

Line2:Ineverhitso
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Line3:AllIwantedwasto

Theselyricsrepresentthefirsthalfofbothlinesandareidenticalinnatureexceptfor1minordifference.Notethefollowing:

Line2kicksoffwithaninfectiousFBflatleap.Thisisalsothecasewithline3aswellexceptforthefactthattheresadoubleFattheonsetviathelyricsallI.

ThebalancethenfollowsasimplisticdescendingprogressionviaBflatAGFtoconclude.

Facet2:BflatAA(G)

Line2:hardinlove

Line3:breakyourwalls

Theselyricsrepresentthesecondhalfofbothlinesandarealmostidenticalinnatureaswell.Notethefollowing:

FollowingthefirsthalfthatconcludedbydescendingdowntoF,thefirstlyricthatfollowsoneachline(hardandbreak)leapsbackuptoBflatattheonset.

The2lyricsthatfollowoneachline(inloveandyourwalls)followbydescendingtoadoubleAdelivery.Notehoweverthatthelyricwallsonline3isextended
pastitsnormalsyllablecounttofurtherdescenddowntoGtoconclude.Thisisalsothecasewiththelyricsswungandfallinthesecondstanzaaswell.Notice
howthisAGprogressionisinlinewiththeAGdescentthatoccurredattheendofline1onthelyricball,whichhelpstoaccentuatethememorabilityfactorofthe
section.

Group3:Lines4&5

Aswesawinthelinelengthandsegmentationsectionabove,lines4and5arebrokeninto2individualsegmentsasfollows:

Line4:Allyoueverdidwas/breaeaeakme

Line5:Yeahyou/youwreeeckme

Line4Segment1:Allyoueverdidwas

Noticethatline4initiallystartsoffinvirtuallythesamemannerasthefirstfacetwithinlines2and3thatprecededitviaanFFBflatAGFprogression.

Line4Segment2:breaeaeakme

Themannerinwhichline4concludes,however,iswhereitdiffersfromthelinesthatprecededit.InsteadofendingviaaBflatAA(G)progression,itinstead
descendsviaBflatAGandthenprogressesbackuptoBflattoconclude.

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InregardtotheBflatAGprogression,noticethatthisdefines1ofthe2mostcolorfullyricswithinthesectiontheextendedbreaeaeak.Alsonoticehowit
setsupthefinallyricoftheline,me.

Asforthelyricme,thefactthatitleapsbackuptoBflatfromtheGthatprecededittoconcludethelineisoutoftheordinaryandasaresultdoesafantasticjobof
puttingauniquespinonthesectionandtakingitsinfectiousnaturetothenextlevel.Thereasonisduetothefactthatweresousedtohearingasection,lineor
individualsegmentconcludebyprogressingDOWNWARD(i.e.toanF,forexample)toprovidearesolve.Instead,theleapuptoBflatactstoheightentheevocative
natureofbothlyricswithinthesegmentbreakme.

Line5Segment1:Yeahyou

DirectlyfollowingtheBflatleapthatprecededit,weonceagainseeadropdowntoFonthe2lyricsthatfollow,yeahyou.Noticethatthisisyetanothersetupand
precursortothefinalcolorfullyricsofthesectionthatfollows.

Line5Segment2:youwreeeckme

Herewehaveavirtualrepeatoftheprogressionthatdefinedtheothersuperinfectiouslyricsbreaeaeakmeonthepreviousline.Theonlydifferenceisthatthereis
anadditionalFattheonsetviathelyricyou.

ThatfinalleapuptoBflatonthelyricmethenactstoconcludethesectiononaheightenedemotionallevelwithoutthetypicalresolvethatwereusetohearing.As
previouslymentioned,thisputsauniquespinonthesectionandalsoactstoaccentuatetheinfectiousnatureofthesongasawhole.

Rhythm

Group1:Line1

TheRapidFireSixteenthNoteLeadIn:Icameinlikea

TheleadinlineofthechoruspossessesarepetitivesixteenthnotedeliverythatalongwiththemonotonenatureofCyrussdeliveryactstoaccentuatetheintensenature
ofhervocalandgrabthelistenersattentionviathecontrastthatitprovidestotheprechorus,whichconsistsprimarilyofeighthnotes.

Italsoactstosetupandprovidecontrasttothedifferingnatureofthewreckingballpayofflyricsthatfollowasyoullseebelow.

TheProlongedPayoffLyrics:WreckingBall

Followingtherapidfiresixteenthnotesetup,thepayofflyricswreckingballtakeonamoresoaringnaturebroughtaboutbythefollowing:

Wreckingconsistsofdottedeighthsixteenthnotetiming.

Ballisstretchedandprolongedviadottedeighthsixteenthtimingaswell.

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Noticethatconsideringthefactthatinginwreckingisasixteenthnotethatitimmediatelyleadsintoballthatfollows.Theresultitbasicallyties
bothlyricstogetherandaccentuatestheoverallsoaringnatureofthetitlelyricsasawhole.

Group2:Lines2&3

Hereweregoingtoonceagaintakeanindividuallookatthe2independentfacetsthatcomprisebothlines.

Facet1:RapidFireSixteenthNotes

Line2:Ineverhitso

Line3:AllIwantedwasto

Noticehowthisrhythmisidenticaltothatoftheleadintothesectionaspreviouslydescribed.

Facet2:ProlongedNature(DottedEighthSixteenthDottedEighthSixteenth)

Line2:hardinlove

Line3:breakyourwalls

Herewehavevirtuallythesamerhythmthatwesawoccurringonthetitlelyricsonline1.Theprimarydifferenceisthatsincethelyricloveisnt
stretchedoutlikeballorwalls,itconsistsofaquarternoteasopposedtoadottedeighthsixteenthcombo.

Group3:Lines4&5

Onceagainlines4and5arebrokeninto2individualsegmentsasfollows:

Line4:Allyoueverdidwas/breaeaeakme

Line5:Yeahyou/youwreeeckme

Line4Segment1:Allyoueverdidwas

Thislinekicksoffwitharapidfiresixteenthnotedeliveryliketheothers,butdiffersontheverylastlyric,was.Insteadofpossessinga
sixteenthnotevalue,itinsteadconsistsofaquarter+asixteenth.Thisprolongednatureactsinthemannerofacommaandalsoactstosetupas
wellasheightenthetensionandanticipationleadingintothelyricthatfollows,breaeaeakme(i.e.allyoueverdidwas<DIDWHAT???>wait
foritbreaeaeakme.).

Line4Segment2:breaeaeakme

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Aswesawwithintheprogressionsection,themannerinwhichthelyricbreakisgivenauniquetwistviabreaeaeakactstotaketheinfectious
natureofthesection,andthesongtothenextlevel.Alongwiththenatureoftheprogression,thiswasfurtheraccentuatedviatherepetitiveeighth
eightheighthrhythmonbreaeaeakandresonatesatthetailendbylingeringonaquarternoteonthelyricme.

Line5Segment1:Yeahyou

Incontrasttotheeighthandquarternotesthatprecededthem,these2lyricsconsistofrapidfiresixteenthnotesandarefollowedbyadotted
eighthrest.Aswasthecasewiththelyricwasonline4,thepauseafteryouonline5actstosetupandheightenthetensionandanticipation
leadingintothefinallyricsofthesection.

Line5Segment2:youwreeeckme

Asidefromtherapidsixteenthnoteleadinonthelyricyou,wehavethesamerhythmtranspiringontheotherultrainfectious/uniquelyricsofthe
section,wreeeckmeaswehadonbreaeaeakmethatprecededit.

REPETITION
(Howisrepetitionutilizedtogetthemelodyengrainedwithinthelistenershead?)

Aswasthecasewiththeverseandprechorussections,wehaveaplethoraofrepetitionbeingutilizedwithinthechorussectionsaswellwhichhelpsto
getthatultrainfectiousmelodyengrainedwithinthelistenershead.

InLineRepetition

Lines24allhave2occurrenceswherethereisaleapfromFuptoBflatfollowedbyadownwardprogression.Notethatallofthedownward
progressionsarenearlyidenticalinnatureexceptforthedoubleAvs.thesingleA(i.e.BflatAAGFvs.BflatAGF).

CrossLineRepetition

Lines14allstartoffwitharapidfiresixteenthnotedelivery

Icameinlikea

Ineverhitso

AllIwantedwasto

Allyoueverdid

Lines24allstartoffwithvirtuallythesameprogression

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Ineverhitso(FBflatAGF)

AllIwantedwasto(FFBflatAGF)

Allyoueverdid(FBflatAGF)

Lines13allendinvirtuallythesamemanner

wreckingball(BflatAAG/DottedEighthSixteenthDottedEighthSixteenth)

hardinlove(BflatAA/DottedEighthSixteenthQuarter)

breakyourwalls(BflatAAG/DottedEighthSixteenthDottedEighthSixteenth)

Lines4&5concludeinthesameexactmanner

breaeaeakme(BflatAGBflat/EighthEighthQuarter)

wreeeckme(BflatAGBflat/EighthEighthQuarter)

CrossStanzaRepetition

Bothstanzasrepeatinvirtuallythesameexactmannerwithjustsomeveryminordifferences.

CrossSectionalRepetition

Thefirststanzawithineachofthe3chorusoccurrencesrepeatsinthesameexactmanner.

Thesecondstanzainchoruses2and3repeatsinthesameexactmanner.Notethatchorus1doesnotcontainasecondstanza.

DIVERSIFYINGFACTORS
(Whatdiversitywithinthemelodyisutilizedtopreventtherepetitionfrommakingthingstoomonotonous?)

The3Groups

Asweveseen,eachstanzaofthechorusconsistsof3groupsthatdifferinnaturefromoneanother.Torecap,thesegroupsare:

Group1:Line1

Group2:Lines2&3

Group3:Lines4&5
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Additionaldifferentiation(assubtleassomemightbe)utilizedthroughoutthesectionincludes:

Line2inthefirststanzaconcludesviaaBflatAAprogression.Thisdiffersslightlyfromthemannerinwhichlines1and3endinbothstanzasaswellasits
correspondingline2inthesecondstanza,allofwhichdropdowntoGattheveryend(BflatAAG).

Line2inbothstanzaskicksoffwithasinglelyricthatisanFnoteandconsistsofasixteenthnotevalue.Lines3and4,however,bothstartwith2lyricsthatareF
notesandpossesssixteenthnotetiming.

COLORADDERS&EMPHASIZERS
(Arecertainlyricssunginacertainmannertoprovideincreasedemphasisandcoloring?)

Asawhole,thenatureofthevocalmelodywithinthechorusisexceptionallycolorfulandinfectious.Therewereafewkeyelements,however,
thathelpedtoreallyputitoverthetop:

BreaeaeakMe/WreeeckMe

Firstandforemost,themannerinwhichtheselyricsaresungaspreviouslymentionedconcludeseachstanzaandthesectionasawholeinan
exceptionallyunique,infectiousandmemorablemanner.Thefactthattheyrepeatbacktobackonlines4and5inbothstanzasreinforcesit
withinthelistenersheadandmakesitimpossibleforthemtoshakeoff.

TheSection/StanzaLeadIn

Thesolo,rapidfiresixteenthnotemonotonedeliveryofIcameinlikeakicksthesectionoffinanintensemanneralongwiththenatureof
Cyrussvocaldelivery.Italsoperfectlysetsupthetitle(payoff)lyricsthatfollowasmentionedearlier.

TheLeap/DescentProgressions

ThemannerinwhichlinesleapfromFtoBflatandthenprogressdownwardisalsoexceptionallyinfectious,engagingandmemorable.

TheRapidFire/ProlongedCombo

Thecontrastbetweenhowcertainlineskickoffwithasixteenthnoterapidfireleadinfollowedbyamoresoaring/prolongedprogressionto
concludeprovidesthesectionasawholewithanexceptionallyinfectiousandengagingnature.

TheCliffhangers

Theprolongednatureofthelyricwasonline4aswellastherestthatfollowsyouonline5acttoheightenthetensionandanticipationleading
intotheultrainfectiousbreaeaeakmeandwreeeckmelyricsthatfollow.

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LineEndingStretchedLyrics

Noticehowmostofthelyricsthatconcludelineswithinthesectionaresinglesyllablelyricsthatarestretchedpasttheirnormalsyllablecount
over2notestoprovidesubtlyenhancedcoloringtothesection,whichultimatelyisanadditionalfactorinaccentuatingthesectionsoverallinfectious
nature:

Line1,firststanza(ball):AG/dottedeighthsixteenth

Line3,firststanza(walls):AG/dottedeighthsixteenth

Line1,secondstanza(ball):AG/dottedeighthsixteenth

Line2,secondstanza(swung):AG/dottedeighthsixteenth

Line3,secondstanza(fall):AG/dottedeighthsixteenth

BRIDGE

1stStanza

2ndStanza

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LineReference

1stStanza

Line1:Inevermeanttostartawar
Line2:Ijustwantedyoutoletmein
Line3:Andinsteadofusingforce
Line4:IguessIshouldveletyouin

2ndStanza

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Line1:Inevermeanttostartawar
Line2:Ijustwantedyoutoletmein
Line3:IguessIshouldveletyouin

VocalRange

High:Bflat
Low:C

LINELENGTH&SEGMENTATION
(Arethelines&phrasesamouthfultosingoraretheybrokenintoshort,memorablesegments?)

Hereinthebridgethefirstthingtotakenoteofisthatthegenerallengthofthelineswithinthesectionareverysimilartothatofthechorus.

Alsonoticethatthereisntanyinlinesegmentationbeingutilizedasweveseenelsewherewithinthesong.Eachlinerunstheentirewaythrough
andconcludesonarest.

Additionally,theprimarydifferencebetweenbothstanzaswithinthebridgeisthatline3hasbeenomittedfromthesecondstanza.

1stStanza

Line1:Inevermeanttostartawar

Word/SyllableCount:7words/8syllables

SegmentationMethod:QuarterRest

Line2:Ijustwantedyoutoletmein

Word/SyllableCount:8words/9syllables

SegmentationMethod:DottedQuarterRest

Line3:Andinsteadofusingforce

Word/SyllableCount:5words/6syllables

SegmentationMethod:Quarter+SixteenthRest

Line4:IguessIshouldveletyouin

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Word/SyllableCount:7words/8syllables

SegmentationMethod:Quarter+SixteenthRest

2ndStanza

Line1:Inevermeanttostartawar

Word/SyllableCount:7words/8syllables

SegmentationMethod:QuarterRest

Line2:Ijustwantedyoutoletmein

Word/SyllableCount:8words/9syllables

SegmentationMethod:Quarter+SixteenthRest

Line3:IguessIshouldveletyouin

Word/SyllableCount:7words/8syllables

SegmentationMethod:Eighth+DottedHalfRest

PROGRESSION&RHYTHM
(Isthenatureoftheprogressionandrhythmsimplisticorcomplex?Whatstheflow?)

Whatsreallyinterestingaboutthebridgeisthateachlinepossessesanexceptionallysimilarprogressionandrhythmicnatureasthefirstline
withinthechorus.Heresasidebysidecomparisonforreference:

BridgeLine1

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ChorusLine1(BothStanzas)

Keysimilarities:

Bothstartoffwitharapidfiresixteenthnotedeliveryoverthefirsthalfofeachlineandareprimarilymonotoneinnatureaswell.

ThesecondhalfofeachlineisidenticalfromaprogressionstandpointandALMOSTfromarhythmicstandpointaswell.

KeyDifferences:

Firstandforemost,thefirsthalfofthechoruskicksoffwithamonotoneBflatdeliveryandthenprogressesdownwardviaBflatAAG.Incontrast,thefirst
halfofeachlinewithinthebridgeisnotcompletelymonotoneinnature(thoughmostly)andresidesprimarilyinFbeforeleapinguptoBflattostartthe
downwardprogression.

Thefirstandthirdlyricswithinthesecondhalfofeachlinewithinthebridgeare1sixteenthnoteshorterthanthesamenoteswithinthechorus.

Combined,thesimilaritieshammerthememorabilityfactorofthesonghomewhilethedifferentiationpreventsthesongasawholefrombecomingoverly
monotonous.AlsorememberthatthemannerinwhichCyrussingsbothofthesesectionsiscompletelydifferentaswell(referencethe
Instrumentation/Music/Vocalsectionforspecifics).

Wanttotrythetruelitmustesttoseehowsimilartheyare?Trysingingthelyricsofthechorusviathemelodyandrhythmwithinthe
bridgeandseehowtheyjibe!

Progression

Asyoucanseeinthegraphsandnotationabove,eachlinewithinbothstanzasofthebridgearealmostidenticalinnaturefromaprogression
standpoint.

Essentially,eachlineisdividedinto2distinctsegments:

Therapidfire/monotonesquefirsthalf
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Theprolongedsecondhalfwithavariedprogression

FirstHalf

ThefirsthalfofeachlinewithinthebridgeconsistsofamonotoneoralmostmonotoneFdeliveryasfollows:

FirstStanza

Line1(EFFFF):Inevermeantto

Line2(CEFFFF):Ijustwantedyouto

Line3(FFFF):Andinsteadof

Line4(CFFFF):IguessIshouldv

SecondStanza

Line1(FFFFF):Inevermeantto

Line2(CEFFFF):Ijustwantedyouto

Line3(CFFFF):IguessIshouldve

Asyoullseebelow,themostlymonotonenatureofthesesegmentsperfectlysetsupthesecondhalfofthelinethatfollows.

SecondHalf

FirstStanza

Line1(BflatAAG):startawar

Line2(BflatAAG):letmein

Line3(BflatAAG):usinforce

Line4(BflatAAG):youin

SecondStanza

Line1(BflatAAG):startawar

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Line2(BflatAAG):letmein

Line3(BflatAAG):youin

PuttingThemTogether

Whenyouputbothofthesesegmentstogether,youcanseehowthecontrastbetweenthe2reallyaccentuatesthenatureofthelineinasimilarmanner
thatwasindicativeofthechorus.HereitsbroughtaboutviatheleapfromFinthefirsthalfuptoBflatinthesecondandthenbackdown
again.

Bygoingupinregisteritenablestheanswersegmentofeachlinetoreallyjumpoutatthelistenerandasaresultgreatlyaccentuatetheengagement
andinfectiousnatureofthesectionasawhole.Forexample:

Inevermeantto(EFFFF)

younevermeanttowhat???

STARTAWAR(BflatAAG)

Heresanotherone:

Ijustwantedyouto(CEFFFF)

youjustwantedmetowhat???

LETMEIN(BflatAAG)

Yougetthepicture

Rhythm

Aspreviouslymentioned,thenatureoftherhythmontheotherhandisalmostIDENTICALtothatofthefirstlineofthechorus:

Thefirsthalfofeachlinekicksoffwitharapidfiresixteenthnotedelivery

Insteadoffollowingadottedeighthsixteenthdottedeighthsixteenthrhythmonthesecondhalfaswasindicativeofthefirstlinewithinthechorus,itinstead
followsaVERYCLOSEeighthsixteentheighthsixteenthrhythm.

REPETITION
(Howisrepetitionutilizedtogetthemelodyengrainedwithinthelistenershead?)

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Asyoucansee,eachlinewithinbothstanzasofthebridgeareexceptionallysimilartooneanotherasfollows:

CrossLineRepetition

Thefirsthalfofeachlineconsistsofarapidfiresixteenthnotedelivery.

Thesecondhalfofeachlineconsistsofaneighthsixteentheighthsixteenthrhythm.

ThefirsthalfofeachlinefollowsaprimarilymonotonenaturedFdelivery.

ThesecondhalfofeachlinefollowsaBflatAAGprogression.

CrossStanzaRepetition

Line2inbothstanzasrepeatsinthesameexactmanner.

Thelastlineinbothstanzasrepeatsinthesameexactmanneraswell.

Ingeneral,allofthelineswithinbothstanzaspossessvirtuallythesamenature.

DIVERSIFYINGFACTORS
(Whatdiversitywithinthemelodyisutilizedtopreventtherepetitionfrommakingthingstoomonotonous?)

Theprimarydiversifyingfactorsoccurattheonsetofthefirsthalfofeachline.Assubtleasthedifferentiationis,itdoeshelptopreventthe
sectionfrombecomingovertlymonotonous.

FirstStanza

Line1:StartsonEbeforeprogressinguptoF.

Line2:StartsoffviaCEbeforeprogressinguptoF.

Line3:MonotoneF.

Line4:StartsonCbeforeprogressinguptoF.

SecondStanza

Line1:MonotoneF.

Line2:StartsoffviaCEbeforeprogressinguptoF.

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Line3:StartsonCbeforeprogressinguptoF.

COLORADDERS&EMPHASIZERS
(Arecertainlyricssunginacertainmannertoprovideincreasedemphasisandcoloring?)

Astonotbeoverlyredundant,referencetheprecedingchorussectionconsideringthesimilarnaturebetweenbothofthesesections.

Theonecoloradderthatthechorusdoesnotpossessthatisfoundwithinthebridge,however,istheleapfromFtoBflatatthe
transitionpointbetweenbothhalvesofeachline.Notonlydoesitincreasetheoverallengagementfactorandinfectiousnatureofthesection,
butitalsoaccentuatestheevocativenatureofCyrussvocaldeliveryaswell.

Lyrics BacktoTop

Lyrics/HarmonicProgression/Word&SyllableCount

Key
(*):Indicatesachordthatoccursbeforethebeginningoftheline
(**):Indicatesachordthatoccursontherestprecedingthehighlightedlyric
BlueFontOnLyric:Indicateswherethechordchangetakesplace
(Parethesis):Indicatesachordthatcarriesoverfromthepreviousline

VERSE1

DmF(8words/8syllables)
Weclawedwechainedourheartsinvain

CGm(5words/6syllables)
Wejumpedneveraskingwhy

DmF(7words/8syllables)
WekissedIfellunderyourspell

CGm(6words/7syllables)
Alovenoonecoulddeny

PRECHORUS

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BflatDm(8words/10syllables)
DontyoueversayIjustwalkedaway

FBflat(5words/6syllables)
Iwillalwayswantyou

(Bflat)Dm(9words/10syllables)
Icantlivealierunningformylife

FBflat(5words/6syllables)
Iwillalwayswantyou

CHORUS

1stStanzaAllChoruses

F(7words/8syllables)
Icameinlikeawreckingball

*CDm(7words/8syllables)
Ineverhitsohardinlove

*BflatF(8words/9syllables)
AllIwantedwastobreakyourwalls

*CDmBflat(7words/*10syllables)
Allyoueverdidwasbreaeaeakme

*BflatDmBflat(5words/*7syllables)
Yeahyou,youwreeeckme

2ndStanzaChoruses2&3

F(7words/8syllables)
Icameinlikeawreckingball

*CDm(8words/8syllables)
YeahIjustclosedmyeyesandswung

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*Bflat(7words/9syllables)
Leftmecrouchinginablazingfall

*CDmBflat(7words/*10syllables)
Allyoueverdidwasbreaeaeakme

*BflatDmBflat(10words/*10syllables)
Yeahyou,youwreeeckme

VERSE2

DmF(8words/8syllables)
Iputyouhighupinthesky

CGm(6words/7syllables)
Andnowyourenotcomingdown

DmF(7words/8syllables)
Itslowlyturnedyouletmeburn

CGm(7words/8syllables)
Andnowwereashesontheground

BRIDGE

*BflatDm(7words/8syllables)
Inevermeanttostartawar

(Dm)F(8words/9syllables)
Ijustwantedyoutoletmein

(F)Am7(5words/6syllables)
Andinsteadofusingforce

(Am7)Bflat(7words/8syllables)
IguessIshouldveletyouin

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(Bflat)Dm(7words/8syllables)
Inevermeanttostartawar

(Dm)F(8words/9syllables)
Ijustwantedyoutoletmein

(F)Asus4(7words/8syllables)
IguessIshouldveletyouin

Note:
*Indicatesadditionalsyllablesviathestretchedlyricsbreaeaeakandwreeeckwithininthechorus.

LYRICTYPES
Thissectionhighlightsthetypesoflyricsandphrasesusedthroughouteachsectionofthesong.Noticethatsomeofthelyricsandphrasesappearinmore
thanonecategory.

Detail/ImageryLyrics&Phrases
(Theselyricspaintapictureinyourmindandprovidedetailastowhatshappeningwithinthestory,literally,metaphorically,orboth)

Examplesoflinesthatcontaindetailandimageryinclude:

Verse1

Weclawedwechainedourheartsinvain

WekissedIfellunderyourspell

Verse2

Iputyouhighupinthesky

Itslowlyturnedyouletmeburn

Andnowwereashesontheground

PreChorus

DontyoueversayIjustwalkedaway

Icantlivealierunningformylife

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Chorus

Icameinlikeawreckingball

Ineverhitsohardinlove

AllIwantedwastobreakyourwalls

Allyoueverdidwasbreakme

YeahIjustclosedmyeyesandswung

Leftmecrouchinginablazingfall

Bridge

Inevermeanttostartawar

Andinsteadofusingforce

Place&TimeLyrics&Phrases
(Theselyricsreflectplacesandthetimelinewithinthestory)

Verse1

None

Verse2

Iputyouhighupinthesky(Place)

Andnowwereashesontheground(Place)

PreChorus

DontyoueversayIjustwalkedaway(Time)

Iwillalwayswantyou(Time)

Chorus

None
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Bridge

Inevermeanttostartawar(Time)

Ijustwantedyoutoletmein(Placemetaphoricallyspeaking)

Emotional/StateOfMindBasedLyricsandPhrases
(Theselyricsandphrasesshedlightonthecharactersstateofmindandconveyemotioneitherdirectlyorindirectlyenablingyoutoconnectwith
whatthecharactersarefeelingorgoingthroughonanemotionallevelwithinthestory)

PrettymucheverylinewithinWreckingBallishighlyemotionalandevocativeinnature.ReferencetheStoryFlow&Meaningsectionofthereportfor
specificdetails.

ActionBasedLyrics&Phrases
(Theselyricsgetyouintowhatthecharacterswithinthestoryhavedone,aredoingorwilldo)

Verse1

Weclawedwechainedourheartsinvain

Wejumpedneveraskingwhy

WekissedIfellunderyourspell

Verse2

Iputyouhighupinthesky(Notliterally)

Itslowlyturnedyouletmeburn(Thenatureoftherelationship)

PreChorus

DontyoueversayIjustwalkedaway

Icantlivealierunningformylife

Chorus

Icameinlikeawreckingball

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Ineverhitsohardinlove

YeahIjustclosedmyeyesandswung

Leftmecrouchinginablazingfall

Bridge

Inevermeanttostartawar

Character/PersonBasedLyrics&Phrases(IncludingPronouns)
(Theselyricsshowhowallofthecharacterswithinthestoryaredefined)

RedFont:1stPerson
BlueFont:2ndPerson
GreenFont:3rdPerson
BoldBlack:Specificpersonorgroup

VERSE1

Weclawedwechainedourheartsinvain
Wejumpedneveraskingwhy
WekissedIfellunderyourspell
Alovenoonecoulddeny

PRECHORUS1

DontyoueversayIjustwalkedaway
Iwillalwayswantyou
Icantlivealierunningformylife
Iwillalwayswantyou

CHORUS1

1stStanza

Icameinlikeawreckingball
Ineverhitsohardinlove

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AllIwantedwastobreakyourwalls
Allyoueverdidwasbreaeaeakme
Yeahyou,youwreeeckme

SecondStanza:Choruses2&3

Icameinlikeawreckingball
YeahIjustclosedmyeyesandswung
Leftmecrouchinginablazingfall
Allyoueverdidwasbreaeaeakme
Yeahyou,youwreeeckme

VERSE2

Iputyouhighupinthesky
Andnowyourenotcomingdown
Itslowlyturnedyouletmeburn
Andnowwereashesontheground

BRIDGE

1stStanza

Inevermeanttostartawar
Ijustwantedyoutoletmein
Andinsteadofusingforce
IguessIshouldveletyouin

2ndStanza

Inevermeanttostartawar
Ijustwantedyoutoletmein
IguessIshouldveletyouin

RHYMING&REPETITIVELYRICS
Thehighlightedlyricindicatestherhymer.Insomecasesitsafulllyric,andinothercasesitmaybejustoneletterorsyllableorthemannerinwhich
alyricissung.

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24/10/2016 WreckingBallDeconstructedHitSongsDeconstructed

Asyoullseebelow,WreckingBallmakesgreatuseofacombinationofinline,crossline,crossstanzarhymingaswellaslyricalpatternandsectional
rhymingschemerepetitionthataidsincreatinganexceptionallyengagingandmemorablelisteningexperience.

Key:
GreenFont:RepetitiveLyrics
RedFont:InLineRhyming
BlueFont:CrossLineRhyming

Verse1

Line1:Weclawedwechainedourheartsinvain
Line2:Wejumped,neveraskingwhy
Line3:WekissedIfellunderyourspell
Line4:Alove,noonecoulddeny

Hereinthefirstversewehaveacombinationofinlinerhyming,crosslinerhymingandinline/crosslinelyricalrepetition:

InLineRhymers

Noticethattheinlinerhymingoccurssolelyonlines1and3:

Line1:chained/vain

Line3:fell/spell

Eventhoughtherearentaspectsaboutlines1and3thatrhymewithoneanother,thenatureoftheRHYMINGSCHEMEfostersrepetitionbetweenthe2
whichhelpstogetthesectionasawholeengrainedwithinthelistenershead.

CrossLineRhymers

Now,letslookatlines2and4.Noticethatthereisntanyinlinerhymingbutthelastlyriconeachlinerhymeswithoneanotherasfollows:

Line2:why

Line4:deny

RepetitiveLyricalPatterns

Andfinally,noticethelyricalrepetitiongoingonwithinthesection,specificallyviathelyricwe:

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Wekicksofflines1,2and3.

Wealsooccurstwiceonline1.

Verse2

Line1:Iputyouhighupinthesky
Line2:Andnowyourenotcomingdown
Line3:Itslowlyturnedyouletmeburn
Line4:Andnowwereashesontheground

Hereinthesecondversewealsohaveacombinationofinlinerhyming,crosslinerhymingandincrosslinelyricalrepetition:

InLineRhymers

Noticethattheinlinerhymingonceagainoccurssolelyonlines1and3:

Line1:high/sky

Line3:turned/burn

Additionally,noticethatwehavethesamerhymingschemeaswedidwithinthefirstverse.

CrossLineRhymers

Aswasthecasewithinthefirstverse,weonceagainhavetherhymeoccurringonthelastlyricoflines2and4:

Line2:down

Line4:ground

RepetitiveLyricalPatterns

Incontrasttothefirstverse,hereinthesecondversethereisntanyinlinelyricalrepetitiontobefound.However,thereiscrosslinerepetition.Both
lines2and4kickoffwiththelyricsandnow.

PreChorus

Line1:Dontyoueversay,Ijustwalkedaway
Line2:Iwillalwayswantyou

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Line3:Icantlivealie,runningformylife
Line4:Iwillalwayswantyou

Hereintheprechoruswealsohaveinlinerhymingaswellaslyricalrepetitionasfollows:

InLineRhymers

Aswasthecaseintheversesections,theinlinerhymingoccursonlines1and3:

Line1:say/away

Line3:lie/life

RepetitiveLyricalPatterns

Incontrasttotheversesections,hereintheprechoruslines2and4repeatinthesameexactmannerviaIwillalwayswantyou.

Chorus

FirstStanza

Line1:Icameinlikeawreckingball
Line2:Ineverhitsohardinlove
Line3:AllIwantedwastobreakyourwalls
Line4:Allyoueverdidwasbreaeaeakme
Line5:Yeahyou,youwreeeckme

SecondStanza:Choruses2&3

Line1:Icameinlikeawreckingball
Line2:YeahIjustclosedmyeyesandswung
Line3:Leftmecrouchinginablazingfall
Line4:Allyoueverdidwas,breaeaeakme
Line5:Yeahyou,youwreeeckme

Thefirstthingthatyoullnoticeaboutthechorusisthatthereisntanyinlinerhyminggoingon.Whatwehavethoughisacombinationofcrossline
rhyming,crossstanzarhymingandlyricalrepetitionasfollows:

CrossLineRhyming
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Firststanza,lines1&3:ball/walls

Secondstanza,lines1&3:ball/fall

CrossStanzaRhyming

Ballandwallsonlines1&3inthefirststanzarhymewithballandfallonlines1&3withinthesecondstanza

RepetitiveLyricalPatterns

Ikicksofflines1and2inthefirststanza

Allkicksofflines3and4inthefirststanza

meconcludeslines4and5inthefirststanza

mealsoconcludeslines4and5inthesecondstanza

Bridge

FirstStanza

Line1:Inevermeanttostartawar
Line2:Ijustwantedyoutoletmein
Line3:Andinsteadofusingforce
Line4:IguessIshouldveletyouin

SecondStanza

Line1:Inevermeanttostartawar
Line2:Ijustwantedyoutoletmein
Line3:IguessIshouldveletyouin

Hereinthebridgewehaveacombinationofcrosslinerhyming,crossstanzarhymingandlyricalpatternrepetitionaswell:

CrossLineRhyming

Firststanza,lines1&3:war/force

CrossStanzaRhyming

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Warandforceonlines1&3inthefirststanzaandwaronline1inthesecondstanza.

RepetitiveLyricalPatterns

Ikicksofflines1,2and4inthefirststanza.

Ikicksofflines1,2and3inthesecondstanza.

Thelyricsletandinoccurinthesameplaceonlines2and4inthefirststanza.

Thelyricsletandinoccurinthesameplaceonlines2and3inthesecondstanza.

Lines2and4inthefirststanzarepeatinthesameexactmanneronlines2and3inthesecondstanza.

Inlinerhymingrecap

Inlinerhymingonlyoccurredonlines1and3inbothversesectionsaswellastheprechorus.Notethatitoccurredinthesamemanner(placementnot
theactualnatureoftherhyme)inbothversesectionswhichaccentuatestheengagementandmemorabilityfactors.

Crosslinerhymingrecap

Crosslinerhyming(withtheexceptionofpurerepetitionwellgettothatinasecond),occurredonlines2and4intheversesectionsandwaschanged
upinthechoruswhereitoccurredonlines1and3inbothstanzasaswellaslines1and3inthefirststanzaofthebridge.

Crossstanzarhymingrecap

Crossstanzarhymingoccurredonelines1and3inbothstanzasofthechorus,aswellasline1inbothstanzasofthebridge(itsactuallyarepeatofthe
line).

LyricalPatternRepetitionRecap

Lyricalpatternrepetitionoccurredineachsectionofthesongasdetailedabove.

SONGTITLE

Whengaugingtheeffectivenessofasongstitle,thereareanumberoffactorsthatyouneedtoconsider:

1. Is it unique/clever/powerful or run-of-the-mill?
2. Does it pique your interest enough to take a listen to the song?
3. Is it memorable?

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4. How does it work within the lyrical framework of the song?

Isitunique/clever/powerfulorrunofthemill?

Duringthethirdquarterof2013charttoppingPopsongtitlesfellinto1of2categoriesthosethatareunique,cleverandorpowerful(e.g.HolyGrail,
Roar&MySongsKnowWhatYouDidInTheDark),andthosethataremoreuniversal/genericinnature(e.g.INeedYourLove,LoveSomebody&We
CantStop).

IthinkthatyouwouldhavetoagreethatWreckingBallcertainlyfallsintotheupperechelonofthefirstcategoryofsongtitles.

Bytheverymentionofitsname,wreckingballinstantlyconveyspowerthatgrabstheprospectivelistenersattention.Itsalsouniqueandcleverinthe
mannerinwhichitsutilizedtoconveyalovegonewronglyricaltheme.

Doesitpiqueyourinteresttotakealisten?

Absolutely,andon2keylevels:

First,justthetitleasastandalonepiquesyourinteresttohearwhatthesongisallabout.Whatcouldwreckingballpossiblyrelateto?

Second,whenyoutietheartist,inthiscaseMileyCyrus,intotheequation,itfurtherpiquesthelistenersinteresttotakealistentofindoutwhatthesongisallabout.Just
WHYwouldMileyCyrusbesingingaboutawreckingball???

Isitmemorable?

Thereare5factorsthatmakeWreckingBallaverymemorabletitle:

Itsjust2words.

Itsfamiliar.

Itspowerfulandstandsout.

Itsmeaning/usewithinthesong.

Itsplacementwithinthesong(seebelow).

Howdoesitworkwithinthelyricalframeworkofthesong?

WreckingBallisthecorefocalpointandlyricalpayoffwithinthesong.Itsthereasonwhytheentirerelationshipwentawry.ReferencetheStoryFlow
&Meaningsectionofthereportfordetails.

https://reports.hitsongsdeconstructed.com/2013/12/03/mileycyruswreckingballdeconstructed/ 81/103
24/10/2016 WreckingBallDeconstructedHitSongsDeconstructed

TitleOccurrences:

WreckingBalloccursjust5timeswithinthesonginthechorussectionsasfollows:

Chorus1FirstStanza:Thelastlyricsonthefirstlineofthesection.

Chorus2FirstStanza:Thelastlyricsonthefirstlineofthesection.

Chorus2SecondStanza:Thelastlyricsonthefirstlineofthesection.

Chorus3FirstStanza:Thelastlyricsonthefirstlineofthesection.

Chorus3SecondStanza:Thelastlyricsonthefirstlineofthesection.

Additionally,thepartialtitlelyricwreckoccurs5timeswithinthesongaswellasthelastlyricsineachstanzaofthechorus.

Chorus1,2&3

Icameinlikeawreckingball
Ineverhitsohardinlove
AllIwantedwastobreakyourwalls
Allyoueverdidwasbreaeaeakme
Yeah,you,youwreeeckme

Choruses2&3

Icameinlikeawreckingball
Yeah,Ijustclosedmyeyesandswung
Leftmecrashinginablazingfall
Allyoueverdidwasbreaeaeakme
Yeah,you,youwreeeckme

TitlePointsToNote

PrimaryPlacement

Noticethatitoccursasafulltitlelyricattheendofthefirstlineineachstanzawithinthechorusaswellasapartial(i.e.wrecked)attheconclusionof
eachstanzaaswell.Theresultisthatdespiteitslackoframpantusewithinthesongcomparedtoothercharttoppinghitsthatweveseen,itsplacement
enablesittostandout,resonateandgetengrainedwithinthelistenershead.

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ItsExceptionallyClever

Usingwreckingballtoconveyalyricalthemethatrelatestosomeonewhowastryingwaytoohardtowinsomeoneoverandasaresultwreckthe
relationshipintheprocessisexceptionallycleverandunique.Asaresultitstandsoutandresonatesamongstallothermainstreamsongtitles.

TheMannerInWhichItsSung

Asyouveseenwithinthevocalmelodysectionofthereport,WreckingBallissetupbyarapidfire,monotonesoloCyrusIcameinlikeavocal.When
thetitlelyrichits,themusicslamsinandthetitleissungwithasoaring,prolongeddeliveryinrelationtothelyricsthatprecededitwhichenablesitto
standoutandresonateataveryhighlevel.

STORYFLOW&MEANING

Engaginglyricsthatarechockfullofdetail,imagery,actionandemotioncoupledwithacompellingstorylineareparamounttobringingasongtolifeand
engagingthelisteneronadeeplevel.ThisiscertainlyacorestrengthofthelovegonewrongthemedWreckingBall.

Lyricsandphrasessuchaswreckingball,breakyourwalls,crouchinginablazingfall,andashesonthegroundconveytheemotionthattraverses
everysectionofthesongataheightened,intenselevel,whilethestorysuniversallove/relationshipthemednatureenablesittoconnectonawide,global
scale.

Asyouknow,lyricsarecompletelysubjecttointerpretationbythelistener,andwhatfollowsisonepossibleinterpretation.

Verse1

Line1:Weclawedwechainedourheartsinvain
Line2:Wejumpedneveraskingwhy
Line3:WekissedIfellunderyourspell
Line4:Alovenoonecoulddeny

Thefirstlineofasongisexceptionallyimportantasitneedstoinstantlyhookthelistenerinandengagethemwithinthestoryline.Oneofthemost
effectivewaystodothisisbygivingthemasnapshotofthecurrentstateofaffairscoupledwithpiquingtheirinteresttofindoutwhathappensfurther
withinthestory.

Thisisexactlywhatline1achieveswithinWreckingBall

Line1:Weclawedwechainedourheartsinvain

Rightoffthatbatweknowthatthisisastoryabout2peoplethatwereinarelationshipwhichDIDNOTworkout:

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chainedourheartssignifiesaromanticrelationship.

invainsignifiesthatdespitethewantingtomakethisrelationshipwork,itwasntmeanttobe.

Akeylyriconthelinethatissubjecttointerpretationbythelisteneristhelyricclawed.Wecanlookatthisin1of2ways:

Clawedasitrelatestothemhavingfunwithoneanother.Thinkofitinthemannerof2catsclawingwitheachotherinaplayfulmanner.Thissignifiesthattheyhada
strongfriendshipinadditiontoaromanticinvolvement.

Conversely,wecanalsoviewclawedasanegative,meaningthattheyhadaknackforfightingwithoneanotherwhichgivestheimpressionthatthismayhavebeena
love/haterelationship.Ifthisisthecase,thenitalsoperfectlyjibeswiththevainlyricthatoccursattheendoftheline.Sinceitwasavolatilerelationship,itwas
probablydoomedfromthestart.

Line2:Wejumpedneveraskingwhy

Thelyricjumpedsignifiesthatthiswasntarelationshipthatwascultivatedoveralongperiodoftime.Itwasprobablyloveatfirstsite,andtheyboth
jumpedintotherelationshipwithoutgivingmuchthoughtastoWHYtheyhadtobewithoneanother.Inretrospect,theyprobablyshouldhavegotten
toknoweachotherbetterfirst!

Line3:WekissedIfellunderyourspell.

Thislineisprettyclichbutitworks.InanutshelltheykissedandSHEfellheadoverheelsforhim.Noticehowitdoesntnecessarilyestablishthefact
thatthefeelingwasmutual.Otherwise,thelinemighthavereadsomethingmorelikewekissed,WEfellunderAspell.

Line4:Alovenoonecoulddeny

Thefinallineofthesectionfirmlyestablishesthedeeplovethatshehasforthisguy.

Nowyoumightbethinking,wouldntthisrelatetothelovethattheyhaveforEACHOTHER?Itsdoubtfulconsideringtheprecedingline(line3)switched
toaFIRSTPERSONperspective(i.e.I)fromtheWEsthatprecededit.Itwouldmakesenseforthefourthlinetopertaindirectlytoherinsteadof
switchingbacktothemasacouple.

PreChorus

Line1:DontyoueversayIjustwalkedaway
Line2:Iwillalwayswantyou
Line3:Icantlivealierunningformylife
Line4:Iwillalwayswantyou

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Hereintheprechorusthestoryprogresses,makingthelistenerawareof3keythings:

Shelefttherelationship

SheNEEDEDtogetoutoftherelationship

Regardlessofneedingtogetoutoftherelationship,herloverunssodeepthatshewillalwaysstillwantthisguy

Line1:DontyoueversayIjustwalkedaway

Aftersuspectingthattherelationshipdidntworkoutorwasatleastdoomedtofailasestablishedviathelyricvainonline1intheverse,wereceive
validationofthisonthefirstlineoftheprechoruswherewelearnthatshewalkedawayfromtherelationshipmeaningthatitcametoanend.

Additionally,thefactthatsheleadsoffbysayingdontyoueversay,indicatesthatsheDIDNTwanttohavetoleavethisrelationship,butsheNEEDED
TO.Thismaybebecauseofthefactthatshewassowreckedconsideringthatshecouldntbreakthroughtohimaswellseelaterwithinthesong,or
possiblyduetohisactionsaswellseeonline3withinthissection.

Line2:Iwillalwayswantyou

Thisreiteratesthefactthatshedidntwanttohavetowalkawayfromtherelationshipbecauseshestill,andalwayswill,wantandlovethisguy.

Line3:Icantlivealierunningformylife

Thisisaverypowerfulline.Letstakealookatthe2individualphrases:

Icantlivealieindicatesthatshecouldntstaywithintherelationshipandpretendthateverythingwasok.Shewouldbelivingalie.

RunningformylifeprovidesuswithourfirstindicationthatsheREALLYneededtogetoutofthisrelationship.Itrelatestothefactthatshewassoemotionally
destroyedbynotbeingabletobreakthroughtohimthatshehadtorunforherlifesothatshedidntcompletelyfallapart.Ifshestayedwithintherelationship,itwould
havewoundupkillingheremotionallyandmaybeevenphysicallyaswell.

Additionally,noticehowthistiesinwithline1(dontyoueversayIjustwalkedaway),meaningthatshedidntleavebecauseshewantedto,shelefthim
becausesheHADTO.

Line4:Iwillalwayswantyou

Herewefindherreiteratingthefactthatdespiteallofthenegativeaspectsoftherelationshipthatshewillstillalwayswantandlovehim.Thatshow
deepherloveisforthisguy,whichalsotiesintothenoonecoulddenylinethatconcludedverse1.

Chorus

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FirstStanza:Choruses1,2&3

Line1:Icameinlikeawreckingball
Line2:Ineverhitsohardinlove
Line3:AllIwantedwastobreakyourwalls
Line4:Allyoueverdidwasbreaeaeakme
Line5:Yeahyou,youwreeeckme

Hereinthepayoffofthesongwereremindedofhowverymuchsheloved/lovesthisguy,howhardshetriedtogetthroughtohimtomakethe
relationshipwork,andultimatelyhowitdestroyedherintheendandcausedhertorunforherlife.

Line1:Icameinlikeawreckingball

Line1isaperfectexampleofwhateffectiveuseofimagerycandoforastory.Noticethatitconveys2keythings:

Itprovidesthepowerfulimagerythataccentuatesthemeaningofthelinethatfollows,Ineverhitsohardinlove.MeaningshefellHARDforthisguy.Picturinga
wreckingballslammingintoabuildinghammersthispointhomeinaBIGway.

WRECKingballalsoprovidesuswiththeinclinationshemaybeblamingherselffortherelationshipgoingawry(fastforwardtothebridgeifyouwantaspoiler).The
keywordhereiswreck,meaningthatshewreckedtherelationshipviaheractions.

Line2:Ineverhitsohardinlove

Thislineisstraightforwardandtiesdirectlyintoline1thatprecededitviahittingsoHARDinlove.ThefactthatsheNEVERhitsohardinlove
indicatesthatthiswasthebiggestlovethatsheeverhadinherlifeandreiterateshowmuchshereallydid/doeslovethisguy.

Line3:AllIwantedwastobreakyourwalls

Heresanotherreallypowerfullinethatutilizesimagerytotierightinwiththewreckingballtheme(i.e.awreckingballsmashingthroughawall).

Thefactthatshewantedtobreakhiswallsleadsustobelievethatheeitherwasntasintotherelationshipasshewasorwasjustunwillingtoopenupto
herinthemannerthatshewanted.Solikeawreckingballsheaggressivelytriedtobreakthroughtohim,butintheendheraggressivemannerwound
upwreckingtherelationship.Thehardershetriedtobreakthrough,themorehepulledawayandreinforcedhiswall.

Line4:Allyoueverdidwasbreaeaeakme

Thisimportantlinesumstheendresultoftherelationship.Despiteherintensiveeffortstobreakthroughhiswallsinordertogethimtoloveherasmuch
assheloveshimandtoopenuptoherasestablishedonline3,itwoundupbackfiringandshewastheonewhogotbrokenintheend.

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Additionally,noticethatHE(i.e.you)istheonethatsheblamesforbreaking/wreckingher(atleastfornow).

Line5:Yeahyou,youwreeeckme

Line5reiteratestheultrahurtnaturedepictedonline4,butthistimetiesinapartialtitlelyric(i.e.wreck),toconcludethesectioninamemorable,
familiarmanner.

SecondStanza:Choruses2&3

Line1:Icameinlikeawreckingball
Line2:YeahIjustclosedmyeyesandswung
Line3:Leftmecrouchinginablazingfall
Line4:Allyoueverdidwasbreaeaeakme
Line5:Yeahyou,youwreeeckme

Noticethatlines1,4and5areidenticaltothecorrespondinglinesinthefirststanzathatprecededit.Hereweregoingtotakealookatthe2new
additions,lines2and3:

Line2:YeahIjustclosedmyeyesandswung

Thekeylyricstotakenoteofhereareclosedmyeyes.Thisleadsustobelievethatsherefusedtoseehimandtherelationshipforwhattheyreallywere.
Shewashopingagainsthopethatshewouldbeabletobreakthroughhiswallstomakehimloveher,openup,andbecommittedtotherelationshipas
muchasshewas.Butaswefoundoutontheveryfirstlineofthesong,itwasallinvain.

Line3:Leftmecrouchinginablazingfall

Again,morepotentimagery.Afterreallygivingitheralltobreakthrough,sheultimatelyfailed.Theresultisthatitcompletelydestroyedher,
consideringallofthehighhopesthatshehadforthisrelationshipcoupledwithhowmuchsheloveshim.Thisiswhyshehadtorunforherlife.

Blazingfallprovidestheperfectpictureofhowhardshefellfromallofthelove/highhopesthatshehadintototaldespair.

Crouchingprovidestheperfectpictureoftheimmensetollthatthistookonher.Shecantstandupandbestrong.Instead,shesdownforthecount.

Verse2

Line1:Iputyouhighupinthesky
Line2:Andnowyourenotcomingdown
Line3:Itslowlyturnedyouletmeburn
Line4:Andnowwereashesontheground
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Incontrasttothefirstverseofthesongwhichpertainedtothebeginningoftheirrelationship,thesecondversetakesusthroughthemiddle(lines1&2)
throughtheend(lines3and4).

Lines1&2:Iputyouhighupinthesky/Andnowyourenotcomingdown

Thefirstlinerelatestothedegreeofthelovethatshehadforthisguyandhowmuchshethoughtofhim.Thelinethatfollowsindicatesthateventhough
therelationshipisgoingdownhill(aswellseeonline3),herloveforhimisstillatanapex.Thisisabigproblembecauseitsgoingtocausehertobreak
andgetwreckedmuchharderthanifshewasgraduallyfallingoutoflovewithhimastherelationshipstartedtoturn.

Lines3&4:Itslowlyturnedyouletmeburn/Andnowwereashesontheground

Onthefirsthalfofline3wefindoutthattherelationshipdidntjustcrumbleovernight.Instead,itwasagradualprocessasindicatedviathelyricsit
slowlyturned.

Thesecondhalfofthelineisquitepowerful.Whileshewasstilltryingtobreakthroughtohimlikeawreckingballtomaketherelationshipworkeven
thoughitwasgoingdownhill,he,whoobviouslyhadnodesiretomakeitwork,letherkeeptryingfullknowingthatshewouldgetburnedintheend,
whichdescribesthegreatdegreetowhichshegothurt.

Asforline4,thisspellsouttheresultofitallbyutilizingstringentimagerythattiesdirectlyintothelyricburnedontheprecedinglineandnow,were
ashesontheground.TherelationshipisOVER.

Bridge

1stStanza

Line1:Inevermeanttostartawar
Line2:Ijustwantedyoutoletmein
Line3:Andinsteadofusingforce
Line4:IguessIshouldveletyouin

Hereinthebridgetheprotagonistisrealizingthatbyherpursuingtherelationshiplikeawreckingballthatitultimatelyledtotherelationshipsdemise.

Lines1&2:Inevermeanttostartawar/Ijustwantedyoutoletmein

Hereshesacceptingtherolethatsheplayedinthefailureoftherelationship.Sherealizesthatapproachingitlikewreckingballiswhatcausedallofthe
turmoilinthefirstplace,butitwasneverherintentiontodoso(i.e.startawar).Shewasdoingitbecauseallshesodesperatelywantedwasforthisguy
toletherin.

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24/10/2016 WreckingBallDeconstructedHitSongsDeconstructed

Lines3&4:Andinsteadofusingforce/IguessIshouldveletyouin

Hereonline3shecomestotherealizationthatapproachingtherelationshiplikeawreckingball(i.e.usingforce)wasthewrongcourseofaction.
Insteadofforcingit,sheshouldhavejustrelaxedabitandletHIMinaswefindoutonline4thatfollows.

Line4establishesthefactthatmaybeHEwastryingtoconnectwithHERatthesametimethatSHEwastryingtoconnectwithHIM,butherforceful
mannerprohibiteditfromhappening.Ifshejusteasedupandlettherelationshipprogressnaturallywithoutforcingit,theymighthaveconnectedwith
EACHOTHERandasaresultmostlikelystillbetogether.

Additionally,takenoteofthelyricsIguessatthebeginningofline4.ThisisHERcomingtotherealizationofwhatsheshouldhavedoneAFTERTHE
FACT(i.e.inthesamemanneraswhensomeonewillsayIguessIshouldhavedonethat!)

2ndStanza

Line1:Inevermeanttostartawar
Line2:Ijustwantedyoutoletmein
Line3:IguessIshouldveletyouin

Thesecondstanzaisareiterationofthefirst,minustheneedtorepeatline3,andinsteadofusingforce.Wealreadyknowthatverywellbynow!

SummedUp

Thisisastoryaboutarelationshipbetween2peoplethatseemstohavestartedabruptlywithouteitheroneknowingeachotherparticularlywell.The
protagonistiscompletelyheadoverheelsinlovewiththisguy(i.e.loveatfirstsite)andwantshimTOLETHERintohislife,butunfortunatelyitdoesnt
seemlikeithappeningatall,oratleasttothedegreethatshewants.

Asaresult,shestartstryingtobreakthroughtohimlikeawreckingball,utilizingforcetomakeithappen.Thiswindsupturninghimoffandcausing
himtoputupevenmorewallsandpullawayevenfurther.

Ultimatelyshefailswithhermissiontobreakthrough,andwindsupbeingwreckedandbrokenasaconsequence.Andeventhoughshechoosestorunfor
herlifefromtherelationship,herloveanddesiretobewiththisguyneverwanes.

Intheend,however,sherealizesthatitwasherwreckingballapproachwhichprobablydoomedthisrelationshipfromthegetgo.Ifshejusteasedoffa
bit,andletHIMinthewaythatSHEwantedtobeletin,theymighthavewoundupbeingthehappycoupleafterall.

Benchmarking BacktoTop

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TOP10HITPOPSONGCOMPARISON

ThissectionexploreshowWreckingBallcompositionallycomparestothe23songsthatlandedintheBillboardPopSongstop10duringQ3
2013.

TheaimistospotlightthesimilaritieswhichmakeiteasyforthesongtoconnectwithamainstreamPopaudience(i.e.thefamiliarityfactor),
coupledwithitscoredifferenceswhichenablesittostandoutfromthepack.

SECTIONLENGTH

*ConsideringthateachofWreckingBallschorusespossessadifferentlength,thenumberabovereflectstheaverageofthe3.

**ThelengthoftheprechorusreflectstheFULL0:14prechorusoccurrenceswithinthesong,NOTthe0:07halfprechorus3section.

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Asyoucanseeinthegraphabove,someofthesectionswithinWreckingBallareclosetobeinginlinewithcharttoppingPopsongaverages,whileothers
arentasmuch.

Intro

WreckingBallsintrois0:05(38%)shorterthanthePopsongsaverage.

Verse

WreckingBallsversesare0:09(36%)shorterthanthePopsongsfullverseaverage.

PreChorus

WreckingBallsprechorusesarejust0:02(13%)shorterthanthePopsongsaverage.

Chorus

WreckingBallsaveragechoruslengthisjust0:03(11%)longerthanthePopsongsaverage.

Bridge

WreckingBallsbridgeis0:13(68%)longerthanthePopsongsaverage.

BottomLine

WreckingBallsintroandversesectionsaremoderatelyshorterthanthePopsongsaveragewhileconverselyitsbridgelengthissignificantlylongerthan
theaverage.Theaverageamountoftimeallocatedtotheprechorusandchoruswereclosetobeinginline.

SECTIONCOUNT

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Asyoucanseeinthegraphabove,WreckingBallcontainsthesamenumberofsectionsasthemajorityoftop10PophitsEXCEPTforitsprechorus.It
hasanadditionalhalfoccurrencefollowingthebridge.

TOTALSECTIONBREAKDOWN

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Fromapercentagestandpoint,youcanseethatWreckingBallallocatedalmostthesameamountoftimetotheintro,prechorusandchorussections
asthePopsongsaverage.

Whereitreallydeviated,however,wasinthetimeitallocatedtotheverseandbridgesections.Itallocated9%lesstimetotheverseand6%more
timetothebridge.

ADDITIONALCOMPOSITIONALCHARACTERISTICS

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WreckingBallbeinginlineorclosetoinlinewiththe23top10PophitsofQ32013

TheABABCBform

Itcontainsanintrowithinitsframework

Itdoesntcontainanoutro

Itsfirstchorusoccursjust0:02/1%fartherintothesongthanthePopsongsaverage

Itfeaturesprimarilyelectricbasedinstrumentationwithinthemix

WreckingBallutilizesacombinationofprimaryinstrumentationwithinthemixincludingsynth,electricguitar,pianoandstrings.

Althoughaslightmajorityoftop10Pophitsfeaturedamaleleadvocal(57%),womenwerentthatfaroffat43%.

WreckingBallcontainsaprechorusandabridgewithinitsframework

WreckingBallDOESNOTcontainasolooraninstrumentalbreak

Itfeaturesalove/relationshiplyricaltheme

NOTInlineorclosetoinlinewiththe23top10PophitsofQ32013

WreckingBallisprimarilyaPowerBallad,wherethevastmajorityofQ3stop10hitPopsongswerenot

Its0:09longerthanthePopSongsaverage(granted,itsnotthatfaroff)

Itsintrois0:05(38%)shorterthanthePopsongsaverage

Itstempois52BPMslowerthantheaverage

BottomLine

Overall,WreckingBallscompositionalqualitiesarequitesimilartotheaverage/majorityoftop10PopsongsfromQ32013.Itsthesequalitiesthat
heightenthefamiliarityfactorforthelistener,ultimatelymakingiteffortlessforthemtoconnectwiththesong.Thisisespeciallyimportantinan
airplayenvironment(i.e.itsnotsomethingthatscompletelyoutofleftfieldthatwouldhindertheirabilitytoconnectrightoffthebatwithouthavingto
workatit).

Thatbeingsaid,thecorequalitythatenablesWreckingBalltostandoutandresonateamongstmostothersinthemainstreamPoppackisthefactthat
itsaPowerBallad.DuringQ3,only2outof23songspossessedaBalladnatureJustGiveMeAReasonandMirrors.

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Whenyoucombinethefamiliarityanddifferentialfactorsmentionedabove,youwindupwithasongthatconnectseffortlesslyyetstandsoutandgrabs
thelistenersattentionduetoitsdifferingnaturefrommosteverythingelse.

A&R Hit Factor Assessment BacktoTop

ArtistCareerFactor
Doesthesonghavewhatittakesmaintainorgrowtheartistscloutinthemainstream?

WhenyouemployGottwald,McDonald,Moccio,Skarbek,andWaltertowriteyouahittohelptakeyourcareertothenextlevel,unlessyouREALLY
BLOWITwithyourinterpretationanddelivery,chancesarethatitsgoingtohappen.

MileyCyruscertainlydidntblowit.

Shetookasongwrittenbyacrackteamofwriters,madeitherown,anddelivereditinamannerthatconnectedandresonatedwiththemasses.

Now,whenyouthrowtheracyvideointothemixaswell,the2factorscombinedwounduptakinghermassexposure(nopunintended)tothenextlevel.

Theonlyproblemisthatthenatureofthevideocoupledwithherrecenttwerkinganticsandoutlandishbehaviorhavecastashadowonhowtalentedof
anartistshereallyis,andasaresultcouldpossiblyhaveadetrimentaleffectonhercareerinthesenseofbeingtakenseriouslyasanartist(i.e.people
aregettingtheimpressionthatshesallhypeandnosubstancebecausetheycantseepastit).

WhenandifCyrusfindstherightbalancebetweenthe2,shesgoingtobeoneofthemostformidableartistsintodaysmainstreamPopscene,guaranteed.

OriginalityFactor
Doesthesongpossessauniquenatureorhaveyouhearditallbefore?DoesitstandoutinthePopmainstream?

Asidefromtheclever,uniquewreckingballelementsthatwesawthroughoutthereport,thereisnothingaboutthesongthatissoexceptionallyunique
thatyouhaventheardbefore.WreckingBallisathroughandthroughPopPowerBallad,nothingmore,nothingless(albeitaVERYstrongone).

Thatbeingsaid,itDOEShoweverstandoutinTODAYSmainstreamPopsceneduetothemannerinwhichitcommunicatesalovegonebadlyrical
themeinaunique,engagingmannercoupledwiththefactthatitsaPowerBallad(rememberinQ32013only2outof23top10PopsongswerePower
Ballads).

Social,External&ControversyFactors
Werethereanyexternal,controversyorsocialfactorssurroundingthereleaseofthesongthatcouldhelpincreaseitsvisibility,reachandsuccess
potential?

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ItgoeswithoutsayingthatCyrushasdoneafantasticjobofgettingherselfnoticedinrecenttimes.Whetheritwasdeclaringthatpotisthebestdrugon
earth,twerkingattheVMAs,orappearingnudewhileswingingonaWreckingBallinthesongsvideo(350,000,000+viewsandcounting),herantics
havethrusthertotheforefrontofPopculture.

TheresultisthatWreckingBallhassurelybenefitedfromthismassexposure,ultimatelydrivingsalesandherclimbupthecharts.

TheDemographicReach/FanFactor
Isthisasongthatspigeonholedinonespecificgender/age/genrebracketordoesithavemassreach?

Weneedtolookatthefullpackagehereboththesongandtheaccompanyingvideo.

Age

WhatIvefoundreallyinterestingthroughtalkingtopeopleisthatWreckingBallthesongtraversesaverywideagedemographicrangingfrommidto
lateteensallthewaythroughpeopleintheir60s.Thisisduebothtotheuniversalnatureofthelove/relationshipthemedlyricscoupledwiththesongs
evocative,stellarcraft.

Ontheflipside,thedemographicshrinksconsiderablyinregardtothevideo.Itstooracyforayoungeraudience(theirparentshaveprobablyputablock
onit),whileanolderagegroupprobablyseesitmoreasjustalewdgimmick.

Itsthemiddleoftheroadagegroup,however,whereitconnectsandresonatesthemost,withacorecertainlywithinthelateteenstomidtwenties.

Gender

Inregardtothesongitself,itsPowerBalladnaturebeingconveyedfromafemalepointofviewcertainlyrelatesmoretowardthatgenderdemographic
thanamaleaudience.Thatbeingsaid,thiscertainlyisntasappysongbyanymeans,anditspowerful,evocativenaturehasnoproblemconnectingwith
amaleaudienceaswell.

Now,inregardtothevideo,Ithinkitgoeswithoutsayingthatamaleaudiencewouldbejustas,ifnotmoreintothevideothanafemaleaudience.Ifyou
haventseenityet,putitonandyoullunderstandwhy.Enoughsaid!

Genre

Unlikesongsthatincorporatemorethanonedistinctsubgenreintothemixwhichenablesthemtocrosspollinateintogenres/fanbasesoutsidetheir
norm(i.e.LockedOutOfHeaven,WakeMeUp,etc),WreckingBallisprettymuchthroughandthroughaPopPowerBalladaspreviouslystatedandas
aresultprimarilyrelegatedtothePopgenre.

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TheHollySh*tYouGottaHearThisNOWFactor
IsthisasongwheresomeonewouldinstantlycalluptheirfriendandsaydropwhatyouredoingyougottalistentothisNOW!!!

Inregardtothesongitself,thereisnothingthatissoovertlyspecialaboutWreckingBallthatwouldcausesomeonetoimmediatelycallupafriendand
sayholysh*t!!!ThisisthemostAMAZINGsongever!!!YouneedtodropwhatyouredoingandputthissongonNOW!!!

ItsaVERYstrongsong,dontgetmewrong.Itsjustnotasongthatcausesyoutostopinyourtracks.

Ontheotherhand,thevideocertainlyqualifiesasoneofthoseholysh*t!!!momentsduetoitsovertlyracynature.Thefirsttimethatyouviewit,you
havetoaskyourself,issheREALLYdoingthis?AsaresultitsnotoutofthequestionthatsomeonewouldimmediatelycallupafriendandsayIcant
believewhatImseeingcheckthisoutNOW!

TheMultipleListenFactor
Isthissongengagingenoughtowarrantrepeatlistens?

WreckingBalliscertainlystrongenoughwhereitwouldwarrantrepeatlistens,specificallyduetoitsinfectious,powerfulnature,universal
love/relationshipthemedlyricsanddiversityutilizedthroughoutwhichkeepsthesongasawholefreshandengagingforthelistener.

Butaswithallsongsthatareoverplayedandmilkedforalltheirworth,thelawofdiminishingreturnseventuallysetsinandyoujustplainstartgettingsick
ofhearingit.ThiswillcertainlyhappenwithWreckingBall,butitwilltakeabitlongertohappenthenalotofothercharttoppingPopsongsthathave
lesstooffer.

TheHardToBeat/NextSingleFactor
Isthissongsogoodthatthesinglethatfollowswillhavetroublelivinguptoitsstandards?Doesthissongaccentuatetheanticipationforthenext
single?

WreckingBallisanexceptionallywellcraftedsongandwillbehardtobeat.However,consideringthecaliberofmainstreamPopwritersthatshesusing
towriteherhits,itsmorethanfeasible!

ThePushingTheEnvelopeFactor
Doesthissongchartnewground,pushgenreboundariesandactasatrendsetterwithinthegenre?

Asidefromitsclevernature,thereisnothingaboutWreckingBallthatchartsnewgroundorpushesgenreboundarieswithintodaysPopmainstream.
AgainitsastraightupPopPowerBalladnothingmore,nothingless.

TheHumanEmotionFactor
Doesthissongexudeavibethatenablesthelistenertoconnectonadeep,emotional,HUMANlevel?

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ThisiscertainlyoneofWreckingBallscorestrengths.Everyaspectofthesong,includingthelyrics,natureoftheinstrumentationbeingutilized,
associatedprogressions,vocalmelodyandCyrussdeliveryareallevocativeinnatureandasaresultconnectwiththelisteneronadeeplevel.

MemorabilityFactor
Howeasyisittorememberthesongslyrics&melody?Iseachsectionofthesongequallyasmemorable?

AnothercorequalityofWreckingBallisthefactthatitsanexceptionallymemorablesong,broughtaboutviathefollowingfactors:

TheK.I.S.S.Principal

WreckingBallkeepsitsimpleinallaspectsofthesongincludingthenatureofthebackingmusic,thevocalmelodyandlyrics,whichmakesitveryeasy
forthelistenertoconnect,followalongtoandremember.

Thecomplexitylieswithinthemannerinwhichallofthosesimplisticelementsareexpertlyfusedtogethertocomeacrossasbeingsimple,whichcreates
anexceptionallyinfectious,engagingandmemorablesongthatthelistenercantgetoutoftheirhead.ThatsthebeautywithalotofcharttoppingPop
songsincludingWreckingBall.Whensomeonesaysthat#1songissosimpleIcouldwritesomethinglikeitinmysleep,thenthewritershave
certainlydonetheirjobwell!

Repetition

Thisistheprimaryweaponinfosteringmemorabilitywithinasong.MassiveamountsofrepetitionwereutilizedthroughoutWreckingBalltogetit
completelyengrainedwithinthelistenershead,butthediversityemployedpreventedthesongfrombecomingoverlymonotonous.Examplesof
repetitionutilizedwithinWreckingBallinclude:

Vocalmelodyrepetition(thisincludesmelodicandrhythmicrepetition)

Inlinerepetition

Instanzarepetition

Crossstanzarepetition

Crosssectionalrepetition

Lyricalrepetition

Prechoruses1and2featurethesamelyricalcontent.Prechorus3doesaswell,thoughonly1stanzaworth.

Thefirststanzainall3chorusesfeaturesthesamelyricalcontent.Thesameisthecasewithinthesecondstanzainchoruses2and3.Rememberthatchorus1doesnot
containasecondstanza.
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Sectionalrepetition

Bothversesectionsutilizegenerallythesamevocalmelodyandbackingmusic.

Thegeneralnatureofprechoruses1and2isthesamewithsomeminordifferences.

Thegeneralnatureofchoruses1,2and3arethesamewithsomeminordifferences.

Asasidenote,rememberthatthediversityemployedthroughoutlikesectionswithinthesongkeptthingsinfectiousandengagingforthelistenerwhile
notinterferingwiththememorabilitybeingelicited.

LongevityFactorArtist
Willthissongbecomeastapleoftheartistsrepertoireandcatalog?

ConsideringWreckingBallsoverallstrengthandstrongchartperformancethroughouttheworld,Ithinkitgoeswithoutsayingthatthesongwillbe
featuredwithinCyrusslivesetsandconsideredasahighlightwithinhercatalogforalongtimetocome.Butthenagain,shesonly20yearsold.Ifshe
keepsaligningherselfwiththerightsongwritingteams,thereisalwaysthechancethatWreckingBallwillfallbythewaysideincomparison.Onlytimewill
tell!

LongevityFactorGenre
Doesthissonghavewhatittakestostandthetestoftimeandrankamongstthealltimegreats?

Probablynot.Again,WreckingBallisanexceptionallywellcrafted,cleverPowerBallad,butitisntsoovertlyamazingorpossessthatmagicspecial
qualitythatwillenableittorankamongstthealltimegreats.

Thatbeingsaid,itwouldcertainlybeastrongassettoanytimeperiodorPowerBalladcompilation,aswellassomesustainedlongevityinlicensing
initiatives.

Recap, Takeaways & Final Thought BacktoTop

NowthatwehavethoroughlyexploredWreckingBall,letsrecapsomeofthesongscorestrengthsandcharacteristicsthatworkedintandemwith
oneanotherincreatingthisglobalhit.

Fullsectionsaresegmentedintorelativelyshortstanzaswhichprovidesthelistenerwithnewelementsenteringthemixfrequently.Theresultisthatthesongis
alwayskeptfreshandengagingthroughout.

Thevastmajorityoftimewithinthesong(42%)wasallocatedtotheultrainfectious,powerfulchorus,andforgoodreason!

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WreckingBallmakesgreatuseofMTIlevelshiftsthroughouttheentiresong,makingforadynamic,engaginglisteningexperience.

The2differentmannersinwhichthefirstlineofthechorusissetupwithinthesongishighlyeffective,includingthetransitionalpausewhichelicitssuspense
betweenprechorus1andchorus1,andthejoltthatoccursbetweenprechorus2andchorus2.

Thedeparture/contrastprovidedwithinthebridgeviathenatureofCyrussvocaldelivery,lyricsandinstrumentationbeingutilizedtakestheinfectious,engaging
natureofthesongtothenextlevel.

ThesparsenatureoftheunconventionalthirdprechorusdoesafantasticjobofsettinguptheMTIlevelpeakthatoccurswithinthefinalchorusofthesong.

Themannerinwhichthesynthandpianomimictheleadvocalmelodywithinincertainsectionsofthesongactstoenhancetheinfectiouscoloringofthose
sections,heightenthemelodysmemorabilityfactor,aswellasprimethesongforuseasaneffectiveinstrumentalaswell.

WreckingBallcontainsnot1but2magicmomentsthathelpedtoputitoverthetop,bothofwhichoccurwithinthechorus(payoff)sectionsofthesong.Theyinclude
thesectionswreckingballnaturedleadinandimpact,aswellastheultrainfectiousandmemorablemannerinwhichCyrussingsbreeaeakmeandwreeeckme
attheend.

Theclevermannerinwhichthekickandsnarewereutilizedwithinthechorusdidafantasticjobofkeepingthewreckingballvibeintactthroughouttheentire
section.

WreckingBallmakesgreatuseoftraditionalPowerBalladelementsincludingthesynth,piano,stringsandridecymbalwhichdefinedtheballad,whiletheelectric
guitars,powerfuldrumsandcrashcymbalbroughtthePOWER.

Alloftheelementswithinthesong(vocal,instrumentation,musicandlyrics)workedinperfecttandemwithoneanotherincreatinganultrainfectious,
engaging,memorableandevocativelisteningexperiencethatconnectswiththelisteneronadeeplevel.

AstrongbalancebetweenrepetitiveanddiversifyingfactorswereutilizedthroughoutthesongwhichenabledWreckingBalltogetfullyengrainedwithinthe
listenersheadwhileremainingfreshandengagingthroughout.

Althoughjust0:08inlengthandsimplisticinnature,theintrodoesagreatjobofinstantlyengagingthelistenerwithinthesong,establishingthesongsvibeandholding
theirattentionuntiltheversetakesover.

Theoverallnatureofthebackingmusicdoessuchafantasticjobofcommunicatingthedifferenttypesofemotionpresentthroughoutthesongthatyoudontevenneed
thelyricstotellyouhowtofeel.

Thesoniccontrastbetweenthepowerful,intensechorusesandthequieterverse,prechorusandbridgesectionsprovidesforanexceptionallyengaginglistening
experience.

WreckingBallemploysstrongrhymingschemes,simplisticmelodiesaswellasinline,crossline,crossstanzaandcrosssectionalrepetitionthatgetsthevocalmelodyand
thesongforthatmattercompletelyengrainedwithinthelistenershead.

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TheoverallnatureofthevocalmelodywithinEACHSECTIONofthesongisexceptionallyinfectious,engagingandmemorableandaccentuatedviatheperfectblendof
repetitionanddiversity,theK.I.S.S.principal,anduseofclevercoloraddersandemphasizers.

Thelyricscoveyatypicallove/relationshipgonewrongthemeinauniversal,clever,engagingmanner,broughtaboutviaampleuseofimagery,detail,actionand
emotion.Theresultisthatitconnectswithavastaudienceonadeeplevel.

ThetitleWreckingBallinstantlypiquestheprospectivelistenersinteresttotakealistenandfindoutwhatthesongisallabout.Itsalsoutilizedinanexceptionally
cleveranduniquemannerwithintheoverallstorylineaswell.

Despitethelownumberoftitleoccurrencesrelativetoothersongsthatwefindtoppingthecharts,themannerinwhichitsusedcoupledwithitsplacementenablesit
tojumpoutandresonate.

WreckingBallpossessesmanysimilarcharacteristicsandattributesthatarefoundwithintodayscharttoppingPopsongswhichmakesitveryeasyforthe
listenertoinstantlyconnectwiththesong.Additionally,itsclevernaturecoupledwiththefactthatitsaPowerBalladenablesittostandoutfromthepack.

Andfinally,itwasCyrussoutlandish,controversialbehaviorthatenabledher,andthesong,togainmassexposure.

FinalThought:TheExtraSomething

Itscertainlynoteasythesedays(notthatiteverwas)forartiststobreakintothemusicindustryandattainmassivemainstreamsuccess.Moresothan
ever,possessinganexceptionallywellcraftedsongcoupledwithamarketablegoodlookjustisntenough.

Thefactisthatthereareaplethoraofartistswhohavethevoice,thetalent,thelookandthepresencewhoarealllookingtogetsignedandscorethebig
deal.

Unfortunately,ifyourenotalreadyanestablishedsuperstar(andevenifyouare),youneedthatextrasomethingthatenablesyoutostandoutfrom
thepack,getnoticed,getsignedandresonatewiththemasses.

Whenyouthinkaboutit,manyoftodayshottestartists(andyesterdaysaswell)hadthatextrasomethingthatputthemoverthetop.Herearejusta
handfulofexamples:

Adele:Anultraevocative,bluesyvoicecoupledwithincrediblystrongsongstoboot.Throwhernonmainstreamlookintothemixandyouwindupwithanartistthat
stoodoutfromthepackandachievedmassiveworldwidesuccess.

SusanBoyle:InsanelygoodvoicecoupledwithalookthatscreamedanythingbutPopsuperstar.Thecombinationofthe2providedherauniqueedgeinrelationto
everyoneelse.

Avicii:WakeMeUpcreatedcontroversybygoingagainstthegrainofwhatwasexpectedofhimbyfusingCountry/FolkwithEDM.Theresult,aMASSIVEglobalhitthat
senthiscareerskyrocketing.

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DaftPunk:GetLuckysretroDisco/Funk/R&BnaturewentagainstthegrainofEVERYTHINGintodaysmainstream,butstillmanagedtochartat#1allthroughoutthe
world.

Lorde:Royalsuniquesoundrelativetoeverythingelseinthecurrentmainstreamcoupledwithclever,antimainstream/lavishlifestylelyricsandthefactthatshewas
just16whenthesongwasreleasedenabledhertostandoutfromthepackandgetnoticed.

PSY:Weallknowhowthisonewent.Hehadthesong,thevideo,ANDthehorsedance.ThatplushesaKPopartist!

BobDylan:CreatedanenormousamountofcontroversyattheNewportFolkFestivalin1965byabandoninghisacousticFolkrootstogoelectric.Hewasmetwitha
thunderousroundofboos,thoughIthinkhewoundupdoingalrightforhimselfafterward!

Thelistgoesonandon,butIthinkyougetthepicture.Thebottomlineisthatthereneedstobesomethingbeitinyourmusic,yourvideo,yourlook,
youractionsoranythingelsethatcangetyounoticedandcauseanindustryexectosaythatpersonhasIT.Signemup!

Butifyourextrasomethingisrelyingoncontroversial,outlandishbehaviortogarnerattention,goingtoofartotheextremefortoolongcanwindup
beingarecipefordisaster,andthisissomethingthatMileyCyrusneedstopayspecialattentionto.

RightnowshesahouseholdnameprimarilyduetohercalculatedpublicitystuntsthatincludetwerkingattheVMAs,publicallyproclaimingto
RollingStonethatweedisthebestdrugonearth,andofcourseswingingnudefromawreckingball(whichtodatehasscoredover350,000,000views).

Butastheshtickgetsold,peoplearegoingtostarttoloseinterest.Oncethathappens,alloftheAlistmaterialthatshereceivesfromtodayshottest
hitmakerswontbeablebeabletoputherbackontopofthechartsbecausepureandsimplepeoplejustwontcareanymore.

Ifshewantstosecurelongevity,sheseventuallygoingtoneedtoattaintheperfectbalancebetweencontroversialpublicityandrespectedartistry.
Onceshedoesthat,thereisnodoubtthatshewillbeaformidablepresencewithinthePopmainstreamforalongtimetocome.

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