ET Deconstructed

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E.T. Deconstructed

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

Audio/Video Back to Top

General Information Back to Top

Artist: Katy PerrySong/Album: E.T. (Album Version)/Teenage DreamSongwriter(s): K. Perry, L. Gottwald, M. Martin, J.ColemanProducer(s): Gottwald, Martin, ColemanPerformer(s): Perry, Gottwald, Martin, ColemanChart Position: #1 On The Billboard Pop Songs ChartGenre: PopSub Genre: Electro Pop

At a Glance Back to Top

Length: 3:25

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Structure: A-B-A-B-C-BTempo: MidFirst Chorus: 0:44 (21% into the song)Intro Length: 0:06Outro Length: n/aElectric vs. Acoustic: ElectricPrimary Instrumentation: SynthLyrical Theme: Love/RelationshipsTitle Occurrences: The title occurs 6 times within the song, once in each of the first twochoruses and four times in the double third chorusPrimary Lyrical P.O.V: 1st & 2nd

Structural Analysis Back to Top

At-a-Glance

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

Here we see section lengths that are quite symmetrical in nature, with the first verse as well asthe first and second choruses landing at 0:26. The second verse and both pre-choruses arealmost exactly half, each landing at 0:13 (except for the first pre-chorus, which lands at 0:12). The third chorus is a double, landing at 0:52. The bridge is almost the same length as the firstverse and first two choruses, landing at 0:28. Both the intro and turn-around sections are quiteshort in nature (landing at 0:06 and 0:03 respectively).

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

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

As with most hit Pop songs (and especially Katy Perry tunes), the overall emphasis of the songresides in the ultra-infectious Chorus, comprising 51% of E.T.’s overall composition. Farbehind we see the Verse accounting for a total of just 19% of the song, the Bridge at 14%, Pre-Chorus at 12% and the Intro and Turn-around accounting for just 3% and 1% of the songsoverall make up respectively.

Momentum/Intensity Factor (Evaluation of the intensity of each section within the song timelineon a scale of 1 – 10, 10 being the most intense)

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“E.T.” kicks off with a fade-in/swell of electronic kicks plus a myriad of synths and effects beforelaunching into the first verse at 0:06, characterized by Queen’s “We Will Rock You” influencedelectronic drums and a pulsating/blipping synth line. The overall mid-tempo momentum remainsconstant throughout the section.

At 0:32 we enter the first pre-chorus, where we see the momentum remaining pretty muchconstant relative to the first verse, but a noticeable increase in intensity due to the underlyingtension that’s simmering in the section (brought on by the additional synth and change inKaty’s vocal delivery). Also take note of the further increase in intensity present in the secondhalf of the section where we see the kick drum switching over to eighth notes, furthering thebuild into the chorus that lies ahead.

At 0:44 we’re “swooshed” into the first chorus, where we see the intensity and momentum ofthe song peaking with the addition of a plethora of synths, cymbals that further the drive of the“We Will Rock You” drum groove, Katy’s intense vocal delivery and an increase in the overalllevels present in the mix.

At 1:10 we hit the turn-around, which first brings the momentum back down by going into the“We Will Rock You” drums coupled with the pulsating synth, before coming to a complete haltfor 0:01.

At 1:13 we enter the second verse, which from a momentum and intensity perspective is prettymuch on par with that of the first verse. The overall flow of the song repeats through the secondchorus, until we get to the bridge.

At 2:05 we hit the bridge where we see the overall momentum levels drop way down, thoughthe underlying tension is maintained via Katy’s vocal delivery and backing synths. Theelectronic drums are gone for the first half of the section, and when they re-appear in thesecond half they’re low-fi in nature and way back in the mix. They don’t have a substantialimpact on the section from a momentum standpoint.

At 2:33 we enter the third and final (double) chorus, seeing the overall intensity on par with thatof the first two choruses, before going into Katy’s solo vocal (“Extraterrestrial”) at 3:23, whichabruptly ends the song.

Overall, “E.T.” doesn’t have any “jarring” shifts in momentum and intensity. Instead, the songbuilds uniformly from section to section, seeing a moderate jump in intensity going from the pre-

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chorus to the chorus, and the most “glaring” departure occurring in the bridge where we seethe up-front “We Will Rock You” drums being dropped from the mix coupled with Katy’s moresubtle vocal delivery.

Sectional Analysis Back to Top

Intro: 9/10Out of Katy’s five #1 hits (to date) from “Teenage Dream,” “E.T.” is only the second (besides“California Gurls,” which has the Snoop Dogg intro) to have an intro section that differs innature from the rest of the song and isn’t just the backing music from the first verse.

“E.T.’s” intro section is a fade in of the electronic kick drum plus “feedbacking/swooshing”synths that do a great job in establishing that “E.T.” futuristic/outer space vibe right off the bat. You instantly know that you’re in for something other than your “terrestrial” based hit Popsong. Additionally, the lone kick (which is a segment of Queen’s “We Will Rock You” drums)gets you prepped for the rhythm that will be present throughout the balance of the entire song(except for the first half of the bridge).

Verses: 9/10“E.T.’s” verse sections are highly effective on a number of levels:

MUSIC/INSTRUMENTATIONThe music backing Katy’s vocals is both simplistic and exceptionally effective in nature. First,you have the up-front Queen “We Will Rock You” electronic drums. This is one of the mostidentifiable rhythms in popular music, so obviously it does a great job in accentuating thememorability and infectious nature of the section (plus it comes across as being “familiar,”which is another great tool in wrapping the listener into the song.) Second, you have thepulsating synth “blips” which do a great job of giving the song that futuristic /outer space vibe.

LYRICSThe lyrics are “simplistic” yet powerful in nature and do a great job of maximizing the impact ofeach line within the story. Take the first verse for example. Lyrics like “hypnotizing, devil, angel,magnetizing and glowing” are all strong and evocative.

MELODY/PHRASING/VOCAL DELIVERY

The vocal melody in the verse sections of “E.T.” is exceptionally strong and pretty much just asmemorable as the first half of the chorus sections (especially since the verse melody is virtuallyidentical to the chorus melody– more on that later). Strong points:

Normally I’m not in favor of overly processed vocals, but in “E.T.’s” case it’s not onlyjustified, it’s imperative in creating and maximizing the overall vibe of the song. Katy’smulti-tracked, processed delay effect vocals perfectly personify the futuristic aura of thesong.

The monotone vocal delivery of the first line of each stanza also does a fantastic job of

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accentuating the “futuristic” vibe of the song by giving it a “robotic” type of feel.

The first line of each stanza is phrased differently than the two that follow (see below).The result is almost like a call and response type of effect and as a result gives thesection diversity (which aids in keeping the listener engaged) and really enhances theoverall memorability of the section as well.

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

KEY:Blue Font: A FlatGold Font: GGreen Font: FItalics: 16th notes

VERSE 1:You’re-so-hyp-no-tiz-ingCould you be the dev-il?Could you be an an-gel?

Your touch mag-ne-tiz-ingFeels like I am float-ingLeaves my bod-y glow-ing

They say, be a-fraidYou’re not like the oth-ers

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Fu-tur-is-tic lov-er

Di-fferent DN-AThey don’t un-der-stand you

Overall, the vocal melody is quite simplistic in nature (monotone A flat on the first line followedby alternating A flat and G on the second and third lines with the last syllable on the second andthird lines going down to an F) yet it works exceptionally well against the backinginstrumentation and comes across engaging and memorable.

Pre-Chorus: 8.5/10The pre-chorus within “E.T.” does a great job of not only seamlessly bridging the verse andchorus sections, but it also creates an increased underlying tension brought about by the shift inKaty’s vocal delivery and additional backing synth that ultimately makes the payoff of thechorus that more powerful when it hits. Also take note in the second half of the section how thekick switches over to eighth notes, giving the section more of a subtle propulsive nature leadinginto the chorus that follows.

GRAPHICAL REPRESENTATION OF THE PRE-CHORUS MELODY (listen to the sectionwhile you look at this):

Here, instead of the alternating A flat/G melody of the verse, we see an initial leap from F to Cduring the first three stanzas (except in the initial A flat/G/F decline during “You’re from a…” in

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the first stanza) followed by a declining B flat/A flat/G… run. The fourth stanza is a monotonevocal delivery in F, before leaping to D flat and down to C.

PRE-CHORUS LYRICS (Range from F to C)

KEY:Gold Font: CGreen Font: F

You’re from a whole ‘noth-er worldA diff-erent dimensionYou o-pen my eyesAnd I’m rea-dy to goLead me in-to the light

Chorus: 8.5/10As with Katy’s fifth #1 hit off of Teenage Dream, “Last Friday (T.G.I.F.),” the chorus in “E.T.” isdivided into two separate sections. The primary difference between the two sections lies in thevocal melody, since the backing music remains pretty much constant throughout both sections. As always, it’s very well crafted and memorable in nature, providing the listener with a greatpayoff from the tension that had been building through the pre-chorus.

CHORUS SECTION 1 (0:13 in length):

LYRICSAs with the two previous sections of the song, the lyrics here are “simplistic” in nature, yet quitepowerful and evocative:

Infect me with your loveFill me with your poisonWanna be a victimReady for abduction

MUSIC/INSTRUMENTATIONHere we see a whole slew of synths entering the mix, coming at you from every which way, andall eliciting a “futuristic” vibe. Note that the “We Will Rock You” electronic drums have carriedover from the verse and pre-chorus sections, and are now accentuated by what sounds to be ahi-hat that gives the beat more of a propulsive nature in a subtly delivered manner.

MELODY/PHRASINGWhat’s interesting here is that the overall vocal melody is pretty much exactly the same of thatwhich was present in the verse. The same notes are used (A flat/G/F) and the phrasing isalmost identical. That being said, the melody is both infectious and strong, and thememorability is now even further accentuated due to the repetition between sections.

GRAPHICAL REPRESENTATION OF VOCAL MELODY PRESENT IN THE CHORUS DURING

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FIRST TWO STANZAS OF THE SECTION (listen to the section while you look at this):

Red Diamond: 16th Note

1ST STANZA

2ND STANZA

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With the exception of the second line of the first stanza (where we see the first syllable of theword “in-fect” starting on a G as opposed to A flat), the vocal melody is identical in both stanzas(alternating A flat/G and ending on F). The first line of both stanzas is the monotone vocaldelivery in A flat.

KEY:Blue Font: A FlatGold Font: GGreen Font: FItalics: 16th notes

Kiss me, ki-ki-kiss meIn-fect me with your love andFill me with your pois-on

Take me, ta-ta-take meWan-na be a vict-imRea-dy for ab-duc-tion

CHORUS SECTION 2 (0:13 in length):

LYRICSHere we see the lyrics dealing exclusively with the “E.T.” theme of the song (alien, foreign,supernatural, and extraterrestrial), all of which appear as the last word on each line of thesection. Each line contains 6 syllables, and it’s interesting to see how the word “foreign” isstretched out to 3 syllables as opposed to the two that it contains.

MUSIC/INSTRUMENTATIONThe music and instrumentation remain pretty much the same as the first section of the chorus(though there are a couple of subtle synth additions that are barely noticeable behind thevocals).

MELODY/PHRASINGHere we see almost the reverse flow of what we saw in the pre-chorus (ascending note valuesas opposed to descending):

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CHORUS – 2ND HALF LYRICS (Range from F to D flat)

KEY:Blue Font: D flat (Peaks as the highest value in section)Gold Font: C (Second highest value in section)Green Font: F (Lowest value in section)

Boy, you’re an al-i-enYour touch so for–eignIt’s sup-er-nat-u-ralEx-tra-terr-es-tri-al

It’s interesting to note in the section above how the “for” and “es” on the second and fourthlines are a half step down (C ) from the peak value (d flat) present on the first and third lines in“i” and “u.” It provides the listener with some subtle differentiation and intensity between linesthat ultimately aids in the engagement factor. Also take note of the differentiation between thelast two syllables on the 1st and 3rd / 2nd and 4th lines as well.

Bridge: 8.5/10The bridge section in “E.T.” provides the listener with a total departure from the rest of the songboth from a vocal melody, lyrical and musical standpoint.

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LYRICSThe lyrics here sum up Katy’s strong feelings toward this E.T., culminating with the phrase “foryou I’ll risk it all.”

This is trans-cen-den-talOn an-oth-er lev-elBoy, you’re my lu-cky star

I wanna walk on your wave lengthAnd be there when you vib-rateFor you I’ll risk it allAll

MUSIC/INSTRUMENTATION/VOCALSHere we see a complete break from the powerful chorus, utilizing only two synths for the firstpart of the section before seeing the electronic drums enter during the second half. The drumsare way back in the mix and low-fi in nature (they’re not nearly as up-front as they were duringthe other sections of the song). All in all, the music here provides the perfect backdrop forKaty’s light, high-pitched vocals.

Speaking of vocals, notice how it seems like Katy’s vocals have been stripped bare for thissection. Most of the ultra-processed effects that were so prevalent in the other sections arenow gone from the mix, except for some reverb. This does a great job of accentuating thepremise that Katy is “baring her soul” to this E.T.

Waveform Back to Top

As you can see in the waveform above, “E.T.” is quite compressed for maximum sonic impact(especially in the chorus sections). That being said, there is some breathing room in the verse

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and pre-chorus sections, and most glaringly in the bridge.

Primary Instrumentation, Tone & Mix Back to Top

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Benchmark Analysis Back to Top

Compares the song being analyzed to all Pop songs that have entered the Billboard Pop top 10,Y-T-D 2011

The key elements present in “E.T.” are in-line with all year-to-date top 10 Pop hits EXCEPT:

The song is 0:26 shorter than the average top 10 hit Pop song.

The overall tempo is more on the mid side as opposed to mid/up.

The song has a female lead vocal as opposed to a male (a small majority of top 10 hit

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Pop songs feature a male lead vocal (46% male vs. 38% female).

The song has an overall “love/relationship” lyrical theme as opposed to a “hooking up”lyrical theme which is present in the majority of top 10 hit Pop songs (though parts of“E.T.” definitely can be interpreted as “hooking up”).

“E.T.” is primarily straight-up Electro Pop in nature, where the majority of top 10 hit Popsongs possess an Electro Pop/Dance influence.

Overall Assessment Back to Top

Structure: 9/10Does the song flow in a cohesive manner? Overall, “E.T.” is very well constructed, with eachsection of the song flowing seamlessly in and out of and building off of one another, ultimatelydoing a great job of keeping the listener engaged throughout. The Queen influenced “We WillRock You” beat serves as the ever present anchor and backbone of the song from which eachsection is built. It’s this beat that enables the smooth transition from one section to the next(plus effective changes in vocal phrasing and instrumentation, of course).

Production: 8.5/10How does the production stand up in maximizing the songs impact? The production values of“E.T.” do a great job of bringing the futuristic vibe of the song to life, with the vocals and eachinstrument sitting and coming across well defined in the mix. Overall the song is quitecompressed for maximum sonic impact (especially during the choruses – no surprise there), butit works quite well considering the overall nature of the song.

Instrumentation/Tone: 9/10Does the instrumentation and sound maximize the vibe of the song? All of the instrumentationand associated tones work perfectly together in bringing the futuristic quality of the song to life,while keeping it “Katy Perry sounding” in nature. The two primary instruments used throughoutthe song set the overall vibe (the electronic drums and “blipping” synth), while the plethora ofadditional synths introduced during the chorus take the power of the song to the next level. Interestingly, the bright, “80’s sounding” synth used in the bridge provides a common linkbetween some of her other top hits (it’s part of the Katy Perry sound, and aids in the“familiarity” factor of the song).

Lyrics: 8.5/10Do the lyrics serve the song and jibe with the vibe of the music? Overall, the lyrics in “E.T.” arepowerful and evocative in a “simplistic” manner (they’re not Neil Peart lyrics, that’s for sure),yet they leave themselves open to interpretation (is it primarily a love story, or is it more abouthooking up? Is it a sci-fi story or is it about someone from another culture?) The flow of thestory is quite strong as well:

Verse 1 (Stanza’s 1 & 2): Details the effect that this E.T. has on Katy.

Verse 1 (Stanza’s 3 & 4): Details other people’s thoughts (i.e. “they”) about this E.T.

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Pre-Chorus: Reaffirms that this E.T. isn’t from here (i.e. “whole ‘nother world, differentdimension”) and that Katy is ready to go away with (or get down with) this E.T.

Chorus: This is open for interpretation, but it’s either about falling in love with an E.T. orhooking up with an E.T. (and E.T. either being a person from a foreign land or actually fromspace).

Verse 2 (Stanza’s 1 & 2): Details that Katy wants to feel more of this E.T. Again, it’s open tointerpretation. Is it more about falling in love or straight-up hooking up?

Bridge: Details that this relationship is on a very high level, OR, that the hooking up is REALLYgood.

Vocal Delivery: 9/10Does the tonality and phrasing of the vocals maximize the songs impact? Even though thevocals are immensely processed, Katy’s unique style still shines through, making the song allher own. Her phrasing is infectious, and her delivery is evocative and spot on.

Hit Factor Assessment Back to Top

Memorability: 9/10How easy is it to remember this song after you hear it once? When your writing team consists ofMax Martin, Dr. Luke, Joshua Coleman and of course Katy Perry, chances are that you’regoing to wind up with a song that’s exceptionally memorable in nature. “E.T.” definitelydoesn’t disappoint, with each section of the song coming across just as memorable as the next,especially in the verse and chorus sections due to the fantastic vocal melody and delivery.

Also don’t forget the Queen influenced “We Will Rock You” beat that’s present through justabout every section of the song. The “Queen” familiarity coupled with the repetitive nature ofthe beat gets engrained in your head. Finally, if you haven’t already realized it, the vocalmelody present in the verse and chorus sections is pretty much exactly the same. Bothsections utilize A flat, G and F, and the melody flows in pretty much the same fashion:

Verse (1st Stanza):

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Chorus (2nd Stanza):

Originality: 7/10Does this song have its own unique vibe when compared to other songs/artists in the genre?Overall, “E.T.” definitely has a unique sound and vibe and is clearly identifiable as a Katy Perrytune amidst all of the other Pop songs currently topping the charts. That being said, theydefinitely use the “We Will Rock You” beat note for note throughout much of the song. So inthat sense, the entire backbone of “E.T.” is completely unoriginal in nature.

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Payoff: 8.5/10Does the song provide the listener with a strong payoff (i.e. a hot chorus)? The chorus in “E.T.”definitely provides the listener with a good payoff, both from a melodic, sonic and lyricalstandpoint. Melodically, it’s basically the same infectious melody that was established in theverse sections. Lyrically, it brings the storyline that had been developing during the verse andpre-chorus sections to a head. Sonically, it’s the strongest part of the song.

Longevity: 9/10 (Artist), 5/10 (Overall genre Genre)Does this song have what it takes to stand the test of time? Will it become a staple of theartist’s repertoire? As far becoming a highlight of Katy’s career, there’s little doubt that “E.T.”will shine in the same light as some of her other #1 hits from Teenage Dream. When looking atthe overall Pop genre, does this song have what it takes to stand the test of time amongst othergreats that continue to shine over the decades? It’s highly doubtful. “E.T.” is a great, uniquesounding Pop song, and when people look back to this time period it will surely stand out.However, it doesn’t have that “magic quality” about it that will enable it to become “timeless.”

Conclusion: 8.5/10 Back to Top

The Good:

“E.T.” is exceptionally well crafted and memorable, with each section effectively flowingand building each off one another.

The overall lyrical concept is conveyed in a clever manner, and the storyline is wellthought and laid out.

The overall vocal melody is simplistic yet highly effective and memorable. It does agreat job of accentuating the futuristic vibe of the song (specifically during the verse andchorus sections).

The instrumentation and associated tones did a great job in bringing the futuristic “E.T.”nature of the song to life.

“E.T.” comes across as original and unique sounding in the current Pop genre whilestaying in-line with the “Katy Perry sound.”

The Bad:

There’s really nothing negative to say about the song.

Why it’s a Hit Back to Top

There were a few primary factors that worked together in making “E.T.” a hit:

The Music: As mentioned throughout the report, the stellar craft brought on by Martin,Coleman, Dr. Luke and Katy Perry produced a very memorable, infectious song with clever

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lyrics. The “futuristic” theme and sound enabled it to come across as being original and uniquein the current Pop genre, while staying true to the Katy Perry sound and vibe.

Collaboration: When you put together two stars that are currently in the spotlight and at the topof their game, you’re going to vastly increase the hit potential of the song. Some peoplethought that Kanye West’s contribution to the first verse and bridge actually detracted from thealbum version, but in the end it definitely helped to gain more exposure for the song andcatapult it to the top of the charts.

Hot Streak: To say that Katy’s “Teenage Dream” album is on a hot streak is anunderstatement. “E.T.” was the fourth single to be release off the exceptionally successfulalbum, and the fourth to go #1. Katy was still riding high from her previous three #1’s, so theoverall expectation was that this was going to hit #1 as well, and it did.

Take Aways Back to Top

The effective use of repetition throughout your song will vastly increase itsmemorability potential. In “E.T.,” we have the Queen influenced “We Will Rock You”drums repeating throughout every single section of the song (except for the first part ofthe bridge), and the vocal melody that was present during the verse basically repeatingitself during the first half of the chorus. Additionally, the melodic flow during eachstanza of the verse repeats itself as well.

“Love/Relationship” and “Hooking Up” lyrical themes are by far the most popularthemes in current Pop music, and also the most widely exhausted in terms of deliveringthe lyrics in a fresh, original manner. “E.T.” put a whole new spin on it, enabling thesong to stand out amongst all others in the genre.

Whether you’re a superstar or just starting out, collaborating with another artist will notonly bring fresh ideas to the table and take your song to places that you never thought itcould go, but it will enable the song to get exposure beyond what you could havedelivered by yourself (i.e. your partner may have a vast network of friends, or may beinvolved with a library or publisher that could bring significant exposure to your song).

Utilizing a “familiar” theme that was present in another hit song (without ripping themoff note for note) will provide the listener with a sort of “comfort level,” enabling them toget engaged quicker and more deeply into the song. “E.T.” did this with the “We WillRock You” drums, and other artists have done it as well, most recently Lady Antebellumwith “Need You Now,” which “borrowed” the overall melody from Alan Parson’s “EyeIn The Sky.”

The instrumentation and their associated tones should jibe with the overall vibe thatyou’re trying to get across in your song. The synths and electronic drums utilized in“E.T.” perfectly accentuated the futuristic theme that was going on in the lyrics andvocal melody.

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Here we see section lengths that are quite symmetrical in nature, with the first verse as well asthe first and second choruses landing at 0:26. The second verse and both pre-choruses arealmost exactly half, each landing at 0:13 (except for the first pre-chorus, which lands at 0:12). The third chorus is a double, landing at 0:52. The bridge is almost the same length as the firstverse and first two choruses, landing at 0:28. Both the intro and turn-around sections are quiteshort in nature (landing at 0:06 and 0:03 respectively).

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ET Deconstructed

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