great moments in pop history

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 goodbye."

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)."

the chorus of the misfits' "where eagles dare."

And, uh, the breakdown in "One More Time" by D*ft P*nk

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.

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 record ever.

Reuters [Stephan]

I must say, the number one in that list came as a bit of a surprise.

ok.

the "well so could anyone" rejoinder in "fairytale of new york"

Spit it out Cozen, we can't wait all day

for the twunts who were dissing side 2 of Disintegration:

the final two cymbal crashes in "Homesick"

this thread should’ve been longer.

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

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"

each time Sarah Cracknell sings "yes!" in Saint Etienne's He's On the Phone

― boxedjoy, Friday, January 18, 2019 9:26 AM (two hours ago) Bookmark Flag Post Permalink

You'll like the remix, then...

the excessive and camp Motiv8 one? that is a favourite yes

The crack in Merry Clayton's voice on the final "Rape, murder!" in "Gimme Shelter", and Mick's(?) "whoo!" right after.

The organ solo on Deep Purple's "Fireball".

James Brown to saxophonist Robert McCullough on "Super Bad, part 2": "Blow me some TRANE, brother!"

the bit in Strike's "U Sure Do" when she sings the big "whoaaaaah" note

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