Best Moments in a Song

-- S- (gen.nuisanc...), May 30th, 2006.

So, er, whenever that happens.

YES YES YES! OTM!

(I've only been here like a month, am I allowed to say that yet?)

*maniacal laughter*

*cut to Martha & The Vandella's "Nowhere to Run"*

"Nowhere to RUN to, baby
Nowhere to HIIIIDE"

*cut back*

Good luck, brothers.

This moment is pretty much the same as the previous 20 seconds. Why there? The only two moments from that band that have ever made the hair on the back of my neck stand up are as follows:

3:04 on "Neighborhood #3 (Power Out)" (plus the buildup to this moment)
2:41 on "Wake Up"

Oh, and the whole "In my dreams, you're alive and you're crying/as your mouth moves in mine, soft and sweet" bit at 1:59 into Neutral Milk Hotel's "Two-Headed Boy Pt. 2". Come on, everyone knows exACTly what I'm talking about. It gets you every time and you all know it. The entire song is so cryptic, yet with the sheer emotion of Mangum's voice, coupled to the simplicity of the line on it's own (as opposed to something like heads filled with flames or finding tongues in peoples teeth), it is simultaneously incredibly moving and beautiful, instantly evokeing a clear picture the simple longing for a loved one who has died, and the ecstacy that such a reunion would bring.

This is highly OTM

7:31 into Genesis' The Cinema Show (only heard it for the first time tonight...wow)

3:47 into Yes' And You And I, next two minutes greatest two minutes prog has ever seen

5:05 into Roxy Music's If There Is Something. CRUCIAL to this moment is the way the drums are recorded, and the way it switches, suddenly bringing the entire song into focus. 3:05 into Roxy Music's In Every Dream Home A Heartache is also a scorcher, if only for the archest turn of phrase in Western rock history.

5:45 into King Crimson's Twenty-First Century Schizoid Man

15:02 into Pink Floyd's Echoes

0:07 into The Secret Machines' First Wave Intact

2:29 into The Cooper Temple Clause's Did You Miss Me (in which the single most ugly, repulsive, menacing chord of all time is suddenly discovered)

5:51 into The Mars Volta's L'Via L'Viaquez

2:16 into Muse's Blackout

3:45 into Oceansize's I Am The Morning

6:46 into Mansun's Cancer, the greatest song of all IMO.

"There's a freakout brewing at my house, at my houuuuuuuuuuuuuse!!"

14:43 into Soft Machine's Moon In June (album version)

3:55-4:03 in Miles Davis's 'Prayer (Oh Doctor Jesus)', when Miles finally plays the refrain, ending on a long relieved exhale of a note just after the horn section dies down. chills, maaaaaaan.

Molly O'Day's "weeeeeEEEEEEeeelllllll" at 1:23 in 'King Jesus Will Roll All Burdens Away' (its impact is only slightly diminished by its recurrence a couple of verses later)

the snapping strings and clattering percussion at 2:15-2:37 in Nina Nastasia's ''What's Out There' (and the abrupt transition back to the verse, as if nothing happened)

the really deep breath Ichiko Aoba takes at 5:20 in the live version of '機械仕掛乃宇宙'

the drumroll at 2:30 in Antoine's 'Une autre autoroute'

The first 1:20 of Mirah's "Apples in the Trees"

― Stephen C (ihope), Sunday, December 25, 2005 3:34 PM (9 years ago)

otm, dude from 2005!

(but this thread has way too much Arcade Fire for my comfort

real talk: the chorus of 'Cabinessence' blows all the aforementioned 'moments' off the stage

Chorus?

i know what scarlett means (and she's rite)

in don cherry's "teo-teo can," when the piano/notion of harmony finally comes in (4:20)
and likewise, in pharoah sanders' "upper egypt & lower egypt," when that gorgeous groove finally coalesces out of the noise some 9 mins deep

and when "only in dreams" aborts regular song structure and effortlessly shits on all explosions in the sky-type post rock forever

the wagnerian wordless harmony that introduces verse two of "god only knows"
the key change and final chorus drop of girl's day's "기대해"
and the "you must be kidding me" bit/outro of "robocop" is still the most candid and moving kanye moment, imo

my friend Polly always loved "the bit" in See Emily Play between the first chorus and second verse

I slowed that bit to half speed on my reel to reel, it's still good

Chorus?

i.e. the "who ran the iron horse (truck drivin' man)" bits

soyrev otm about 'Upper and Lower Egypt' (and I'd also add the moment when Leon Thomas makes his entrance about a minute before the song ends)

xpost ta.

speaking of willie colon,
https://www.youtube.com/watch?v=0Bcq3NXomaQ&feature=youtu.be&t=2m1s
the stop-start interlude from 2:12 through release of 2:42 lavoe’s eeeeh-eh-eh......

(^among my ‘favourite songs of the moment, fuck’ but also among fave salsa songs ever)

"you adore me," in "i wanna be adored"

speaking of all this kanye tonight: the mos def bridge in "drunk and hot girls," which is otherwise just such a fuckin' rancid heap of chaff

can't think of any other chaff heap of a song that features such a great, beautiful section

(great selections, unregistered
not sure of proper protocol i.e. what’s best way to post on this thread, like just text or start-specific link, like i just did?
but maybe it’s ok to just embed youtube (if available) & note moment of moment? i’m lazy so think i’ll just do that from now on?
anyway i'm terrible at musical phenomenology so apologize in advance; this will prob be more of current "oh yeah <3) for me)

magazine- permafrost
won’t rationalize/ excuse/ apologize for (fictional) lyrics; pretend i did
(anyway addicted to this song)
https://www.youtube.com/watch?v=fCzSeeiAFqQ
guitar solo from 3:51 but ESPECIALLY FROM 4:10-4:35
omg

Sest Boments in a Mong

There are so many of these but one that springs to mind, because I listened to the song the other day, is when Madonna's 'Into the Groove' goes into the bridge/change for the first time. I like the chord change but it's really the bassline -- it feels unstoppable over that section.

Another one (I had this on repeat play a few months ago): 'Tiny Dancer' by Elton John -- the chord change where he sings 'HIGHway' in 'count the headlights on the highway'.

when weyes blood sings "crazy guy" in andromeda

2:40-3:30 of «Thru The Eyes Of Ruby»

Inspired by our current artist poll: the progression from lower to higher vocal register in the first two verses of Janet’s “Love Will Never Do (Without You).”

popped into my head because of Kanye in the news but there’s a moment at the end of Cam’ron’s verse in “Gone” where a saloon piano comes in that I love.