Great songs with a terrible section

Re:Specials, My friend has or had it in for part 2 of Stereotypes, finding it to be basically pointless. But I love it and (thinking aloud so haven't checked) it's also the only real showcase moment for toasting on any of their early material.

Where are you seeing that btw? Shug is credited as the lunkhead on discogs, with Meesah as Esthero's stunt double. Certainly rings a bell and a quick glance at the tracklist of Shug's 1996 album seems to square with that.

― The 25 Best Songs Ever Ranked In Order (Deflatormouse), Friday, September 2, 2022 12:46 PM (two days ago)

shit, you're right. I did some very hasty "research" and wound up mistaking Doc's songwriting credit for a feature. was never my intention to sully his name like that

count me among the "You" conclusion defenders. also my buds and i made so much fun of the a capella Corgan section on The Everlasting Gaze but now i kinda think that and "you know I'm not dead!" are kinda the only good parts of the song.

another ruinously bad and offensive male guest rap: "Shoop."

i love einar

Yeah Einar is great!

He once posted on ilx!

Omg "2 On" is definitely a good incentive to explore this question although the "money money money weed fashion" part is fun. Why didn't anyone just ask him to track another verse?

A common answer I've seen on ILM many times (I think it was almost always the same person) is "Work," which I still don't really get. I'm not a huge Drake defender, but everything he added to that song always seemed in good taste, appropriate, and very collaborative. Even the "if you had a twin" lyric isn't 1% as bad as Schoolboy's verse on "2 On."

he's done worse things in his life but it's still the greyest portion of the song. I often forget he's on it and it's always a slight drag when he comes in

being forgettable is drake's best mode tbf

would y'all agree that the more you like an artist, the more the terrible sections are part of the fun because you just kinda "get" them as artists and can kinda get on their level, even if you know something is kinda stupid? (not talking about things that are actually offensive, just things that are artistically cringey and musically distracting?) and that therefore only the truly, really, appallingly terrible sections stand out to you, while the everyday-terrible ones just feel like part of the song?

or is this specific to my feelings about Paul McCartney, who probably has dozens of these as far as the general public is concerned?

This depends on whether I'm listening to them myself (fine) or whether I'm playing them to someone else (unbearable)

In answer to your question: The Replacments' Hootenanny to thread! Maybe.

speaking of, i love most of “uncle albert” but the “live a little, be a gypsy” part…i could take or leave

Okay, upon reflection, Macca is a pretty good example. A lot of stuff that seemed kind of silly at the time which I tolerated way back when, then cringed at, but ended up ultimately not minding. Thinking particularly of, say, Venus and Mars or especially Wings Over America. But maybe it's just a case of the premise of this thread

Reggae section in Live & Let Die, ugh

B-b-but it fit with the locations in the film! Oh wait.

Macca is a perfect example, the intro and outro sections of Pipes of Peace are the most beautiful little sections of music that I wish had been extrapolated into a whole song.

Instead, in the middle, there's terrible reggae with tabla breakdowns and lord knows what.

If ever somebody needed an editor or collaborator, oh wait!

Macca may be especially susceptible because he clearly really likes having a lot of musical ideas in one recording, and also constructing songs out of "sections"... with varying degrees or success.

“Bad Guy” outro

“8 Out Of 10” outro

“Boo’d Up” outro

Somehow now recalling some half-remembered details of the collaboration on his “Liverpool Oratorio.”

Drunk In Love is an amazing track with a bad Jay-Z interlude

it's still an amazing track

agree about the “bad guy” outro, the beat just feels cheap and repetitive

the “boo’d up” outro where we find out she’s british is great and i won’t hear otherwise

Love "Blerwytirhwng?" by Super Furry Animals but I'm not sure I've ever listened to it through. the loop is kinda cool for one minute, not six

It's a locked groove on the vinyl Out Spaced and I think also on the Llanfair EP 7". On the CD EP it's about 30 seconds, it's only on the Out Spaced CD that it goes on for a while (never bothered me)

I made an edit of The Doors' Touch Me with all the crap bits cut out

i did this too!

https://www.youtube.com/watch?v=fOQX3IcsN6E

Ah interesting, makes more sense now xp

budo jeru at 4:46 5 Sept 22

I made an edit of The Doors' Touch Me with all the crap bits cut out

i did this too!

Jay-Z’s rap in “Crazy in Love”

the hilariously out-of-place monster rock drumbeat in Sting’s otherwise light jazzy “Englishman in New York”

I thought it was supposed to be a "hip-hop beat", to underline he's in New York.

My McCartney answer is "My Love" - the bridge/coda ruin it for me.

the hilariously out-of-place monster rock drumbeat in Sting’s otherwise light jazzy “Englishman in New York”

That was the first example that came to mind when thinking of the opposite phenomenon - amazing bits in otherwise okay songs. Tackhead intruding and then leaving and the song acting as though nothing ever happened

Nick Berry's Every Loser Wins is similar in that regard - random huge drums appearing for about 20 seconds near the end and then the song forgetting all about them. Except this time it's an amusing bit in an otherwise awful song.

The radio edit of Just Jack's Starz in Their Eyes works so much better than the album version with the quasi-grime interlude that threatens the momentum/nostalgia completely

“James BROWWWN! James BROWWWN!”

More-so in Stop Making Sense. He STILL is the Godfather of Soul y'all so CHECK-IT-OUT

the rap breakdown in Erasure’s cover of “Take A Chance On Me”

._.

nooo kinky makes it :(

The only Alcest song I enjoy, Tir Nan Og, has a boring and overlong moody guitar interlude that I always skip through

the hilariously out-of-place monster rock drumbeat in Sting’s otherwise light jazzy “Englishman in New York”

its so weird and out of left field that I can't dislike it exactly

Top 2 brief surreal moment from a 1987-88 pop hit along with the waltz bit in When Will I Be Famous

I thought the whole point of alcest was moody overlong guitar bits at least that's the impression I got from a few listens

I don't feel great dismissing the schoolkid stuff on stevie's "black man" considering where it's coming from but I don't love it, it nearly drowns out one of the best grooves on the album, and it hasn't aged as well lyrically as his better songs tackling race (still better than you know the one which is mostly a white man's fault anyway)

reminds me of Adele’s “My Little Love”, which could have been the highlight on last year’s 30, because the musical soundbed is beautiful, but as a song it’s underdeveloped because it’s interspersed with voicenotes of her and her kid instead which no one needs to hear more than once, if it all.

would y'all agree that the more you like an artist, the more the terrible sections are part of the fun because you just kinda "get" them as artists and can kinda get on their level, even if you know something is kinda stupid? (not talking about things that are actually offensive, just things that are artistically cringey and musically distracting?) and that therefore only the truly, really, appallingly terrible sections stand out to you, while the everyday-terrible ones just feel like part of the song?

or is this specific to my feelings about Paul McCartney, who probably has dozens of these as far as the general public is concerned?

I can imagine this applies to Kate Bush for an awful lot of people.

Co-sign on the James Browwwwn bit of Genius Of Love

Propaganda's "Frozen Faces" sounds like two song fragments smushed together. The intro isn't complex enough to work as a separate movement. The second half is much better but it still feels like a fragment of a song. Not so much a great song with a terrible section as a potentially good song that needed more work.

Along similar lines Paul McCartney's "Maybe I'm Amazed" alternates between a fantastic verse and a really perfunctory chorus/bridge. It's as if he wrote the opening lines and then didn't know what to do next, so he just half-assed the rest and recorded it. It's frustrating because it feels like an imposter. It's taking the place of a better song.

But of course the classic answer is Tangerine Dream's "Birth of Liquid Plejades", which has a great opening with cellos and strings and then turns into a thin, underproduced organ solo that isn't a patch on the other three tracks on that album. I usually skip the whole thing.

This doesn't fit the thread at all but it's a crying shame Creedence Clearwater Revival didn't do more with the groove at the beginning of "Ramble Tamble". It's only about fifteen seconds long and as far as I can tell they don't go back to it later in the song. The rest of the song is of course excellent but it would have been more excellent if they had developed that bit.

Lol there's really several McCartney tunes that apply here. Doctor Casino otm. Him being so musically omnivorous makes him want to tackle genres and styles out of his comfort zone with varying degrees of success, usually resulting in some very unfortunate sections in between great songs.

I think Paul Simon also registers for me in that same space. I love him when he's doing contemplative, melancholic verses as in '50 ways to leave your lover' but when he suddenly changes the tone into a sesame street sing-a-long he loses me completely.

Along similar lines Paul McCartney's "Maybe I'm Amazed" alternates between a fantastic verse and a really perfunctory chorus/bridge. It's as if he wrote the opening lines and then didn't know what to do next, so he just half-assed the rest and recorded it. It's frustrating because it feels like an imposter. It's taking the place of a better song.

I'm amazed at this assessment.