what i'm asking here is, and if you visit the link you'll get a better understanding: what are the greatest moments within a particular song in the history of music. for example, the end of "be my baby" when, before relaunching into the chorus, the song reuses the opening drum part. or the false ending on "bernadette" by the four tops. etc.
― fred solinger, Friday, 9 March 2001 01:00 (eighteen years ago) link
The one that always gets me (and that very few people
remember) is the false start of the chorus in the middle of "I Saw
Her Again Last Night" by The Mamas and The Pappas.
I saw her...
*pause, orchestra continues to swell*
I saw her agaiiiiiinnnnnnn...
The Hammond and Moogs on 'Telstar' should probably be on
there at some point.
― JM, Saturday, 10 March 2001 01:00 (eighteen years ago) link
― K, Saturday, 10 March 2001 01:00 (eighteen years ago) link
Mine: The ragged backup vocals on "You Really Got A Hold On Me" Also,
from The Buzzcocks, the way the vocal line breaks singing "There is
no love in this world anymore". The backup vocals on "Debaser" by tha
Pixies (who are a real moments band -- opening verse to "I been
tired" being another one). "I saw her walking on down the line. You
know I saw her for the very first time." And many many more.
― Sterling Clover, Saturday, 10 March 2001 01:00 (eighteen years ago) link
Back with more later.
― Dr C, Saturday, 10 March 2001 01:00 (eighteen years ago) link
The way 'Lola' by The Raincoats speeds up mid-song.
"I've kissed mermiads, rode the El Niño", the way the guitar riff
rolls under it and makes you feel exactly that big (it's 'Wave of
Mutilation' by Zee Pixies, who had a handful of those moments).
In 'Strings of Life' there is a brilliant drum roll the just takes
When the fuzzed-up guitar hits in Primal Scream's 'Loaded'.
Total Science - 'Champion Sound', long intro, quiets down and then
suddenly it's there, The Rebirth of Rave: wheeenghg, whaawhaaa,
Brian Eno's 'Baby's on Fire', mid-song turns into crazy feed-back
heaven after which Eno return's with his wry voice and so brilliantly
sings "Juanita and Juannnnnn, very clever with maracas" (erm I
think ;) It just fits so perfectly.
That moment in Lynard Skynard's 'Freebird' after soloing for what 4
minutes they start winding up the song. The guitar starts to "pull"
by playing a repeating riff for what seems an impossibly long
time...and then they let go :)
Which reminds me of Roxy Music's 'Virignia Plain', the way the song
breaks down and the pulls back for the last verse, esp those 2
seconds when the guitar crashes in after which the whole band let
― Omar, Saturday, 10 March 2001 01:00 (eighteen years ago) link
that was a bit gushy but I think sums it up...
― Bill, Saturday, 10 March 2001 01:00 (eighteen years ago) link
"BABY BABY YOU SHO' LIKE TO FUCK! (FUCK!)
BABY BABY BABY OH YEAH! (FUCK!)
ROCK 'N' ROLL! I'M TALKIN' BOUT ROCK 'N' ROLL!!!!!!!!"
― Michael Bourke, Saturday, 10 March 2001 01:00 (eighteen years ago) link
Or am I just projecting?
For intense feelings that ARE healthy, I'll take the bassline to Van
Morrison's "Sweet Thing." That sense of wonder, overflowing w/
powerful feelings, etc.
― Mark Richardson, Saturday, 10 March 2001 01:00 (eighteen years ago) link
Also, the Dave Clark Fives wall of sound in "Anyway you Want it".
― Steven James, Saturday, 10 March 2001 01:00 (eighteen years ago) link
― Patrick, Saturday, 10 March 2001 01:00 (eighteen years ago) link
i could go on...... . ...
― Jake Becker, Saturday, 10 March 2001 01:00 (eighteen years ago) link
― Ally, Saturday, 10 March 2001 01:00 (eighteen years ago) link
― keith, Saturday, 10 March 2001 01:00 (eighteen years ago) link
the crashing fuzz chords on the mary chain's "something's wrong."
the riff of "you made me realise."
the howl at the beginning of "immigrant song."
the howl that introduces pil's _flowers of romance_.
the harmonica riff of "hand in glove."
the feedback blip under the lines "it's so soothing to hear that
you'll sue me" in nirvana's "frances farmer will have her revenge on
"black steel in the hour of chaos."
the falsetto chorus of goodie mob's "black ice."
the noise at the start of fugazi's _red medicine_.
the riff of rush's "temples of syrinx."
more later. i have to go home.
― sundar subramanian, Saturday, 10 March 2001 01:00 (eighteen years ago) link
the chord changes *between* the repetitions of the title (I'm sure
you know what I mean) in the chorus of Donna Summer's "Love's Unkind".
About two minutes into the KLF's "Last Train To Trancentral": the
same MC's self-aggrandisement as before, but the chord sequence is
widening, the sheer sound is becoming fuller and fuller, and then the
breakdown: a wide-open chasm, Hollywood's western relocated in, I
dunno, Castlemorton or somewhere (but cooler, obviously). Then the
song returns ... if there is one precise moment when I discovered
pop's transcendence, that is it. And the samples from "What Time Is
Love" and "3AM Eternal" on the song's last lap, as it were, are
pretty awesome as well; the KLF had remade pop as one glorious self-
mythologisation, and the rules were rewritten within each five-second
The jump from the mock-Cossack "hey-hey-hey" sequence (pissing on the
history books and loving every minute of it; it renders most things
that could be called plastic folk utterly unnecessary) into the song
proper in Boney M's "Rasputin" (radio usually starts after this,
therefore removing the only truly classic element of the song).
Britney's voice sounding like a post-human creature invented to
define having reached a low point but wanting to jump back from it,
on the "I used to go with the flow" line from "Stronger".
There are many others, I know.
― Robin Carmody, Saturday, 10 March 2001 01:00 (eighteen years ago) link
― fred solinger, Saturday, 10 March 2001 01:00 (eighteen years ago) link
― hmmm, Saturday, 10 March 2001 01:00 (eighteen years ago) link
The first 15 seconds or so of Born to Run
Sarah Cracknell moaning "Someday...someday..." on He's On The Phone
The spoken word part of Vogue
"I am / Stronger than Mensa / Miller and Mailer / I spat out Plath
The way people got so offended when Instant Karma was used in a Nike
ad (does this count? It's not part of the song, but in light of, say,
Moby selling every song he's done, ever, it's funny)
Roger Daltrey's entire performance on Baba O'Riley
Alternately, we can use Keith Moon's manic drumming on Happy Jack as
our token Who moment
"No, no, no, no, I don't (audible sniff sound) no more, I'm tired of
wakin' up on the floor" - comedy records at their best
The opening of Train in Vain
Sid Vicious's version of My Way
The spitting, audible, barely-contained rage on the last chorus of
The chorus of Goody Two Shoes
The bizarrely bored way Brett Anderson says "Ohhh, well, it's for my
brother" on The Drowners
The entirety of The Safety Dance
"Oh / Your hair is beautiful / Oh tonight / Tonight"
The chorus of You're So Vain (and Mick's backing vocals)
The entire opening of California Love, plus the line "I'm looking
like I robbed Liberace"
"Yo, Humpty, you look like MC Hammer on CRACK"
The bass of You Sexy Thing
"Awwww, ya think you're so pretty-eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee"
The chorus of Money Ain't A Thing
The fact that Right Said Fred are apparently too sexy for cats
To Sir With Love
The guitars on How Soon Is Now
And, of course, the All Your Base Are Belong To Us song. Duh.
Seriously, these are just random moments that came off the top of my
head - I think ANY song you enjoy should have a moment like this. I
mean, give me another day and I'll give you a pile more. Hell, give
me 5 artists I like and I'll give you ten moments each. If a song
doesn't have a moment in it, it's useless. Nature of pop.
― Ally, Sunday, 11 March 2001 01:00 (eighteen years ago) link
― fred solinger, Sunday, 11 March 2001 01:00 (eighteen years ago) link
the oral sex lesson in odb's "don't u know"
the riff of "aqualung."
the bit in wire's "a touching display" that begins "i bought a
ticket/you took a walk/so much to say/we're unable to talk."
the introduction to yes's "heart of the sunrise."
i'm with bw re the bits from "anarchy in the uk" and "when doves cry."
tom keifer's voice.
the moment ian curtis starts screaming in "new dawn fades."
the ending of "good morning captain" nearly justifies the rest of the
the orgasm in "love to love you baby."
the introduction to new order's "the village."
the outro of the magnetic fields' "the desperate things you made me
the chorus of boston's "peace of mind."
hendrix's take on "the star-spangled banner."
(just for tom): "like a rolling stone."
the french horn on the beatles' "for no one."
teenage jesus and the jerks -- "orphans."
siouxsie sioux's performance on "playground twist."
the yelps right after the chorus of the dismemberment plan's "what do
you want me to say?"
the moment "heroin" gets noisy.
the introduction to the birthday party's "the friend catcher."
the moment where team dresch's "screwing yer courage" gets heavy.
"paranoid" (the song).
"bela lugosi's dead."
the chorus of "never let you go."
the chorus of pulp's "the fear."
― sundar subramanian, Sunday, 11 March 2001 01:00 (eighteen years ago) link
"wonderful tonight" came on the radio at work the other day and i
daydreamed of breaking eric clapton's fingers.
The swell of the vocals on the word "paint-boxxxx" on XTC's "Ballet
For A Rainy Day".
The shouts on "Wu-Tang Clan Ain't Nuttin' Ta Fuck Wit'".
― Robin Carmody, Sunday, 11 March 2001 01:00 (eighteen years ago) link
"I don't have a problem with you fucking me / But I got a little
problem with you NOT fucking me"
A better lyric has never been written, and I am not taking the piss.
― Ally, Monday, 12 March 2001 01:00 (eighteen years ago) link
P.E.'s "Welcome to the Terrordome" the whole freaking thing is one
extended pop moment.
LTJ Bukem's "Atlantis", after the last "I need you/I want you" sample
when the drums suddenly crash in.
― Omar, Monday, 12 March 2001 01:00 (eighteen years ago) link
The one-instrument-at-a-time build-up of Magazine's 'The Light Pours
Out Of Me', topped off with Devoto's "Time flies/Time crawls/Like an
"And when you want to live/How do you start?/Where do you go?/Who do
you need to know?" plus coda. The Smiths, 'The Boy With The Thorn In
The second verse/chorus transition in Nilsson's 'Without You'.
The breath-catching moment (about two-thirds of the way through) in
Curd Duca's 'Touch' where, for a second, you expect the sample to
play out and reveal its source (is it Doris Day?).
The rising-then-falling melodic motif that appears in Scott
Walker's 'Boychild' (what is it? Plucked violin? Guitar? Harp?).
― Michael Jones, Monday, 12 March 2001 01:00 (eighteen years ago) link
2. The 5 seconds of backwards keyboard halfway (starts at 2:37)
through nand's 'sonic primrose'.
3. The line about the trouts (1:26) in the second verse of Paul
McCartney's 'Gone Fishin''.
4. The way Dudley sings the line about the ball (0:25 and repeated at
1:59) on the Magnetic Fields' 'I Fell For A Fourth-Rate Football
5. The way Bono croons 'So, this is America / America...' (2:05) in
U2's 'Gambling In Las Vegas, Nevada'.
6. The bit where the bouncy drums suddenly appear below Mark's voice
as he sings 'I am gay and nor are you / Let's go for an interview'
(0:32) in 'Ungay World' by Rocazza.
7. The strange industrial sounds, something like a spinning jenny,
halfway (2:20, till 2:28) through the Jacobite Screenprinters'
8. When 'I'll Stand By You (Though You're A Motorway)' by les Troussés
seems to end, and to fade into the infinity of an A-road night, and
suddenly (3:47) the strings start to swirl again, and the bells and
keyboards all converge for one last finale which is vast yet delicate.
9. The way Stephin Merritt sings the not-really-rhyming couplet about
'tulle' and 'alcool' (0:36-0:42) on the Pines' 'Des Aventures a
10. The way that, for one second only (1:19), the guitar solo seems to
go ineptly out of tune on 'Glasgow I Love Ye' by the Care Bears.
11. The piano break (1:38) in the Five Aegis' 'Your Bottomless
12. The way that Alasdair MacLean's voice goes all breathy (0:45 to
0:56) on the Clientele's 'Rainy Sunday Afternoon'.
― the pinefox, Monday, 12 March 2001 01:00 (eighteen years ago) link
― JM, Monday, 12 March 2001 01:00 (eighteen years ago) link
Another classic moment is the interplay between the two lead synth
parts in Orbital's "Adnan's". It's an extraordinarily beautiful
moment, particularly before the beat comes back in.
The false ending of "Invasion Of The Gabber Robots" is classic, as
well. Good call, Ally.
I'm surprised that no one's mentioned the building mania of "Common
People" by Pulp yet.
― Dan Perry, Monday, 12 March 2001 01:00 (eighteen years ago) link
Still, great song...
"rappenin' is what's happenin'" from tha mystery of chessboxin'
the screams during the chorus of "baby i got your money"
any time he's singing opera in the background
― Jake Becker, Monday, 12 March 2001 01:00 (eighteen years ago) link
The intro of "Eye Of The Tiger" by Survivor. Rubbish song but what an
― Tom, Tuesday, 13 March 2001 01:00 (eighteen years ago) link
'here i go, deep type flow, jacques cousteau
could never get this low' - one of the best
battle rhymes on the album. the pseudo-
soul part ('gotta get up and BEEEE
somebody!') is stuck in my head for
eternity. and then the vocal-fanfare (dah-
dah-DAH! enter the wu-tang zone!'). the
breathless shoutout and passing-of-
microphone to ghostface ('introducing
getttin' iller'). oh man. great.
although, meth's line on 'shame on a nigga'
('i'm better, than my competor, you mean
competitor? whatever!') is, on a good day,
the best line ever recorded. so it's nice too.
― ethan padgett, Tuesday, 13 March 2001 01:00 (eighteen years ago) link
there are soooo many, but ones that first come to mind are the drum
break in the middle of "September Gurls", the way Elvis says "I could
talk all ni-i-i-ight" at the beginning of "Oliver's Army", the whole
of "Bring the Noise" (don't get me started on PE, way too many
moments there), the buildup in between the repeated riff of "Monkey
Gone to Heaven" (Pixies -- also too many to list), the way the sample
starts and stops in the second verse of "Can I Kick it", when Paul
Westerberg goes "come on!" before the second chorus of "I Will
― larmey, Tuesday, 13 March 2001 01:00 (eighteen years ago) link
Anyhow, some more stuff:
"Set the con-trols for the heart of the pelvis / Haven'tcha heard? My
name rhymes with Elllllviissss..."
The "choir" singing on Like a Prayer
The opening of Smells Like Teen Spirit (but nothing else from the
The spoken word snippets interjected into Unworthy
The chorus of Hungry Like the Wolf
"I wouldn't mind the rain / I wouldn't feel this pain"
James Bradfield going from girl to HERO ROCKER in .05 seconds on La
The monologue ending of For Tomorrow
The guitar riff on Age of Consent
No Diggity (although it almost loses it for the creepy video)
The breakdown in Rosa Parks
― Ally, Tuesday, 13 March 2001 01:00 (eighteen years ago) link
the guitar solo in "stairway to heaven." seriously.
the locked groove on _metal machine music_. (listened to side c last
night. maybe it should get more than 6/10.)
"it does not matter if we all die."
the opening lines of deep purple's "highway star."
"i think i fucked your girlfriend once, maybe twice. i can't
remember. then i fucked all your friends' girlfriends. now they
hate you" on big black's _songs about fucking_.
grace slick's performance on "white rabbit."
the riff of iron maiden's "hallowed be thy name."
"and i'm so happy i could cry" in the magnetic fields' "how to say
the stooges' "1979."
the beat of swans' "mother, my body disgusts me."
the chorus of r.e.m.'s "carnival of sorts (boxcars)."
the chorus of "shut up (and sleep with me)."
― sundar subramanian, Tuesday, 13 March 2001 01:00 (eighteen years ago) link
the chorus of the misfits' "where eagles dare."
And, uh, the breakdown in "One More Time" by D*ft P*nk
― Omar, Tuesday, 13 March 2001 01:00 (eighteen years ago) link
The way 'He's on the phone' and 'Music for girls' stop suddenly near
the start then explode. Perfect for dancing like a fool.
The horns on 'Baby Love'.
"One smile from you I'm sure could cure the whole world's ills/I
couldn't wait to dream about you so I overdosed on sleeping pills" -
Flat On My Back, The Visitors.
The opening of REM's 'Carnival of Sorts'; "Hey!", like a sudden
release of breath.
The way Robert Forster goes from "We'll show the world" to "Just not
sure.." in the space of 3 lines in 'Before Hollywood'. I could pick
almost any moment from the album, actually.
On a similar note, I was thinking about weird/unusual/comedy moments
in pop which come off as charming or original. Examples might be
Lindy Morrison's strange drum solo in the middle of The Go-
Betweens' 'Eight Pictures' (the rest of the song has virtually no
drums), the honking horn in the Vaselines' 'Molly's Lips' or the
whistling on Glo-Worm's cover of 'Downtown'. Any other examples which
are great or just rubbish?
And yes, 'How Soon Is Now?' is possibly the most overrated song in
history. And I don't say that very often.
― Ally C, Tuesday, 13 March 2001 01:00 (eighteen years ago) link
― matthew james, Wednesday, 14 March 2001 01:00 (eighteen years ago) link
On Tues, March 13, news emerged from Glasgow (Scotland) that there was
a possibility that the Smiths' 'How Soon Is Now?' was the most
overrated record ever.
There was speculation overnight that Smiths prices would tumble, leaps
of despair would be taken, Western plans shelved. Whole aesthetics
could be wiped out.
On Weds 14 March news arrived from London (England) that the scare had
been false. There was in fact no danger, said a spokesperson for the
University of London, that 'How Soon Is Now?' was the most overrated
― the pinefox, Wednesday, 14 March 2001 01:00 (eighteen years ago) link
― Patrick, Friday, 23 March 2001 01:00 (eighteen years ago) link
I must say, the number one in that list came as a bit of a surprise.
― Nick Greenfield, Friday, 23 March 2001 01:00 (eighteen years ago) link
― Geordie Racer, Wednesday, 28 March 2001 00:00 (eighteen years ago) link
― Geordie racer, Thursday, 29 March 2001 00:00 (eighteen years ago) link
― Cozen (Cozen), Saturday, 28 June 2003 22:56 (sixteen years ago) link
― ♪♫(●̲̲̅̅̅̅=̲̲̅̅̅̅●̲̅̅)♪♫ (Steve Shasta), Tuesday, 10 November 2009 19:18 (ten years ago) link
the "well so could anyone" rejoinder in "fairytale of new york"
― calumy (rip van wanko), Thursday, 17 January 2019 23:39 (one year ago) link
Spit it out Cozen, we can't wait all day
― mfktz (Camaraderie at Arms Length), Thursday, 17 January 2019 23:51 (one year ago) link
for the twunts who were dissing side 2 of Disintegration:
the final two cymbal crashes in "Homesick"
― calumy (rip van wanko), Thursday, 17 January 2019 23:59 (one year ago) link
this thread should’ve been longer.
― Mr. Snrub, Friday, 18 January 2019 00:27 (one year ago) link
each time Sarah Cracknell sings "yes!" in Saint Etienne's He's On the Phone
the little gasp Nina Persson does after the chorus of The Cardigans' "Erase & Rewind"
whenever Sophie Ellis Bextor asks "why does it feel so good?" on Groovejet
― boxedjoy, Friday, 18 January 2019 09:26 (one year ago) link
the sound of a finger being popped in someone's cheek in "Groove Is In The Heart"
the guitar solo in "Buffalo Stance"
the first vocal notes in Robyn S' "Show Me Love"
― boxedjoy, Friday, 18 January 2019 09:28 (one year ago) link
― boxedjoy, Friday, January 18, 2019 9:26 AM (two hours ago) Bookmark Flag Post Permalink
You'll like the remix, then...
― Mark G, Friday, 18 January 2019 12:03 (one year ago) link
the excessive and camp Motiv8 one? that is a favourite yes
― boxedjoy, Friday, 18 January 2019 12:14 (one year ago) link
The crack in Merry Clayton's voice on the final "Rape, murder!" in "Gimme Shelter", and Mick's(?) "whoo!" right after.
― ArchCarrier, Friday, 18 January 2019 12:29 (one year ago) link
The organ solo on Deep Purple's "Fireball".
― ArchCarrier, Friday, 18 January 2019 12:30 (one year ago) link
James Brown to saxophonist Robert McCullough on "Super Bad, part 2": "Blow me some TRANE, brother!"
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Friday, 18 January 2019 15:19 (one year ago) link
the bit in Strike's "U Sure Do" when she sings the big "whoaaaaah" note
― boxedjoy, Wednesday, 8 January 2020 21:12 (two weeks ago) link
the pause in Propaganda's P-Machinery before she sings "...installed by the machine..."
the power chords in the middle of the Prisoners' Thinking of You (Broken Pieces)
the introduction to Stevie Wonder's Sir Duke
the backward instrumental section in Pink Floyd's See Emily Play
Van Morrison's scatting on You Don't Pull No Punches but You Don't Push the River
― Dr X O'Skeleton, Wednesday, 8 January 2020 21:43 (two weeks ago) link