Carly Rae Jepsen is the current reigning queen of pop. Yet sadly, for many people she may only ever be thought of as little other than the "Call Me Maybe" girl - but for the enlightened, she is far greater, far more than just that. While I personally find her infamous hit single to be a fantastic pop song, at the time it was so overplayed that it got on a lot of people's nerves. Regardless, our collective wigs were snatched, nay, kidnapped, nay, sucked into an infinite black hole never to be seen again in 2015 when CRJ dropped E·MO·TION, an nearly-impeccable pop record that far surpasses her previous work and demonstrates palpable musical growth from her saccharine smash hit. E·MO·TION is in many ways an 80's pop throwback, but with pristine, creative, and detailed modern production that never regresses into generic EDM-ish schlock, and all the excellent hooks you'd expect in a pop album.
"Boy Problems" is one of the highlights of the album, drawing you in with atmospheric, vintage-sounding synths before dropping an absolutely obese groove on your head. The combination of the slick slap bass groove and tight drums gives the song a funky, disco-esque vibe almost reminiscent of french house. Carly sings about having to choose between her lover, who she still wants to hold out hope for even with the relationship's flaws clearly apparent, and her best friend who hears her complain about her "boy problems" all the time, and tries to encourage her to just cut it off and focus on her own life rather than some boy. It's all delivered with such sweet and catchy melodies with all sorts of additional layers of harmonizing vocals added as the song progresses. It's really a perfect pop song. That's all there is to it.
So first of all, let's talk about that incredible bassline. While maybe not quite as fun to play as it is to listen to, it's still a pretty damn nice chart, with syncopated percussive slaps in between the prominent chord pops. Every once in a while, it'll throw in a quick run of HOPOs to keep your on your toes. There's not really much else to say, it's just a cool ass part.
The vocal part, and it's unendingly addictive melodies, will likely be one of the main draws to this song, and it can be surprisingly tricky with the quick note changes and little slides in the verse and pre-chorus. The bridge, as bridges tend to do, makes a nice curveball after the second time round through the chorus, and the outro of the song basically takes the chorus melody and accelerates it. The harmonies are also especially great in this song - sometimes they harmonize above the lead melody, other times they provide call-and-response parts, backing oohs, extra "oh"s and what-not here and there, and of course that wonderful "na na na na na!" Theres a lot of variety to be found, and even if a familiar section Carly might just throw in a random change-up here and there to spice things up.
The drum part here is largely centric around a hi-hat dance groove, playing quarters in the verses but 8ths in the chorus. Things are made a bit more interesting with the occasional syncopated kicks in lockstep with the bass slaps, the extra 16th notes in the latter half of the chorus, and the hi-hat/snare fills everty once in a while.
The keys chart in this song is largely comprised of sustained synth pad chords, so it's not exactly the most fun chart to play in the world, but there's a few little quirks like the quick leading notes in the chorus, and the arpeggios in the bridge..
As for guitar, I wouldn't blame you for not even realizing this song has any - but it does, playing a little two note riff in the pre-chorus and then breaking into funky chords in the chorus, making for a surprisingly interesting chart. Oh, it also plays on that iconic "da da duuuuun" bit that I haven't found a place to mention until now.