In this article Eli Krantzberg shares his perfect pop song, this KD Lang song isn’t “the Hit” but Eli argues his case for why it’s her best.

A compelling hook is a helpful and effective writing/production device. But is it essential? It all depends on how you define what a hook is. Traditionally, it is an easily remembered and reproduced specific lyric, phrase, melody, motif, sound, riff, or another repeatedly repeated element (see how that works?). But I don't think a hook has to hit you over the head to be effective. More on that later.  

The Song

There are two essential elements to a genuinely great pop track that applies across all genres and tastes: a great song and an outstanding performance. Even if it is instrumental and electronic, there is still always an element of performance. 

Miss Chatelaine by K.D Lang is an excellent song on several levels. So, what makes a great song? Lyrically, they often deal with universal and easily identifiable themes and archetypes, which are simple to connect with emotionally.  Miss Chatelaine works on two levels lyrically. First, it reflects the universal yearnings of unrequited attraction and possible love to the listener. And on another level, we connect with the protagonist's inner questioning of identity and the changes she is going through while trying to understand her yearnings.

Musically, the song is not overly complex yet has harmonic and melodic movement that reflects the listener's inner journey as they share the intimate experiences of the central character. In the first verse, when the desire for a kiss is repeated, the melody moves to the major seventh note of the chord. This tension note begs for resolution. The song then climbs up from an E chord to an A chord when shifting to the internal questioning of identity. And this brings us to our hook, such as it is. "I can't explain why I've become Miss Chatelaine" is our first introduction to this recurring thematic lyrical motif. 

The second verse is a variation of the flow set up in the first - a desire, followed by inner questioning. The following section, let's call it the B section, shifts in mood both lyrically and musically. The character describes how she feels when there is a form of contact (their eyes meeting) with the object of her desire. The music immediately jumps to the four chord (A major in the key of E). We've jumped to a new destination harmonically, reflecting the potential hinted at in the lyrics.  Musically and lyrically, we are primed for the journey to continue. 

But it doesn't. We are then back at the push and pull of yearning and self-examination, with the listener experiencing all the ups and downs simultaneously. The song modulates for the solo interlude section, and again, this hints at new potential and a continuing journey. The interlude uplifts us with new hope. But those hopes are never realized. The song ends, and although there is no resolution, the experience of being alone on the emotional journey with the central character is fulfillment enough. Because to feel is to be alive. Even if what you are feeling is not always happy or pleasant. And this act of sharing these very human feelings is ultimately an uplifting experience.

The Arrangement

Every element in the arrangement and production reflects the feelings of the narrative arc. And it is a relatively shallow arc since, lyrically, nothing is resolved or changed by the song's end. The introduction features a lovely plaintiff rubato viola aching with the yearning we are about to experience. Using real orchestration as accompaniment for this sets up the expectation of an emotional experience.  K.D. Lang's voice is in the alto range, and she has a deep full warm throaty sound that is not as thin and sharp sounding as many female vocalists. The viola sets us up for this rich-sounding moody lyric since it is not soaring above the rest of the accompaniment. Instead, it is firmly grounded in the warm, full range of the instrument, just as K.D Lang's voice is. 

The verse starts with guitar, bass drum, and clave. The addition of bass and congas fills out the second verse nicely. And all the while, we have thickly textured sustained strings in the background, underlining the emotional mood of the song. The arrangement gets denser in the first B section, accompanying the hope that starting on that A chord promises. It drops back down for the next verse, but with the addition of an evocative viola call and response filling in between the vocal phrases and perhaps echoing the projected response for the object of her desire. Thickly layered backup vocals add to the emotion as the sequence rises to the A chord again. 

The interlude modulates up a major third, to the key of G. I can only describe it as feeling "joyous." It echoes the melodies and refrains we are familiar with at this point; it is the singer inviting us along on her inner emotional journey. We are experiencing her feelings as deeply as she is at this point. 

The next verse features a dramatic pause after the word "captive," emphasizing that she ultimately is alone. And lonely. The mood is again elevated with aspiration as the backup vocals ascend, bringing us to the promised hope of the new destination, the IV chord, one more time.  The B section and last verse are repeated, complete with lush vocals and strings. An extended vamp ends the emotional journey where we began. Yet richer for the experience of having taken it with her. 

The Production / Mix

All the tracks on the 1992 album Ingenue, which this song is from, are impeccably mixed. I don't have much more to say about the mix than that. This song, and the entire album for that matter, are about the songs, the performance, and the tasteful minimal where they need to be and elaborate where they need to be arrangements. Her band had their guitar-centric sound. And that aspect of the instrumentation comes through clearly. The strings augment them tastefully at all times. I would describe the mix as invisible, which is probably the highest praise possible when you think about it. 

From a songwriting perspective, the hook is the refrain at the end of each verse. The emphasis of the viola and strings, in general, emphasize the theme's melodic motif. This arrangement reinforces the lyric and melody, making it more memorable by enhancing the vocal with a sonic/musical association, which is a very effective reinforcement that doesn't hit the listener over the head. The strings telegraph to us what to feel at the end of each verse. So, the hook works on multiple levels. 

All in all, this is an exceptionally well-crafted song and arrangement. The production does not get in the way of either. Nor is it used as a device to draw attention away. In other words, the recording and mixing engineers did their jobs perfectly.