Your Favorite Moment in a Song

SM is singing/speaking:

Unable to bear the scandal, Ray, philanthropist,
rents low-down scab house in conduit,
Herr Proctor offers said land for a song,
but no one wants to sing.
In an attempt to retain social privileges,
yet mask it as goodwill, he says to the conduit members, 'Take this rotten old tree and make it bear fruit."
Cheers erupted throughout the tiny settlement.
An Italian male was heard to say,
"Between here and there
is better than either here or there!"

meanwhile the music is building, and the backup singers are singing behind with:

"No one's gonna save me, no one's gonna make me rearrange..."

and

"no one wants to sing, no one wants to sing..."

along with assorted "bomp bomp ra bomp bomp ba"s

When Mark Hollis sounds as if he's weeping when he sings in "I Believe in You": "Enough ain't it enough crippled world"

ooh, nice one. I still get chills whenever he sings the line that, uh... sounds like it starts with "west"

we should just have a separate thread for "favorite three-second-long Mark Hollis vocal snippets"

"The hurt doesn't show
But the pain still grows
No stranger to you or me

DA-DUM DA-DA-DUM DA-DA-DUM"

Chilling.

"There are problems in these times/but WHOOOOOOO none of them are mine!"

As melodramatic as it is, I've got to admit Nas gets to me on "One Mic."

Absolute unsurpassable moment for me, though, is when Miles Davis hits the high note in "Concierto de Aranjuez (adagio)" on "Sketches of Spain." So goddamn shatterring, breathtaking, can't list enough superlatives.

*"Sister Christian" plays in background*

Rahad: "No, wait wait wait...there's that buildup...LOVE this part..."

*Dum dum dum dum dum dum dum badum dum*

Rahad: "You're MOTORIN', what's your price for flight? Fuckin' love that song."

In Coil's First Dark Ride, we've just been listening to ten minutes of Peter Christopherson's ambient atmospheric unsettling mood music with recordings of Charles Manson asking "you want to be a hippy cult leader" etc. and then some beats start to come in and then the whole thing hits and it's just perfectly done and you better listen to it 'cause this is a pretty shit description.

That is my #1 also, fuck the Sonic Youth thing I was just talking about.

That SOUND!!! It's SO COOL!!!

The moment right after that.

Well, it ain't no use to sit and WONDER WWHHHYY BBAAAAAABBEEE!!!
If you don't know by now
An' it ain't no use to sit and WONDER WWHHHYY BBAAAAAABBEEE!!!
It'll never do, somehooowww...

It gives me shiver everytime.

the bit where the plane goes over in Kate Bush's The Big Sky

MES's Frankie Lymon 'impersonation' in No Xmas for John QUays,

-The drum solo on "My Pal Foot Foot" opening.
-The guitar bridge/solo(?) on "That Little Sports Car"

Current off the top of my head favorites.

The middle section (cellos, high harmony lead) of Master of Puppets

The little strat fills Quincy Jones stuck into everything he touched in the 80's (e.g. Say Say Say right after "take a look at my face these tears I'm cryin")

"Engine Engine Number Nine, on the New York Transit Line, if that train goes off the tracks pick it up pickit up PICK IT UP"

The guitar solo in "Something"

- the chuck/flav exchange leading into the chorus of PE's "bring the noise" ("check it out/yeah y'all come on/here we go again")

OTM

and if you listen closely, you can hear the drums before the drums enter (either from mic/amp/studio leakage, or loud-ass headphones on the vocal track)

Michael McDonald backing vocal on Ride Like the Wind.

First solo in Comfortably Numb.

Willy Porter making the crowd sing the breakdown guitar part of Mystery in the live version.

-The "Oh what she does to me / When she makes love to me" line in "Don't Worry Baby"........the second "she" sounds like something incredibly pure, sad, and orgasmic wrapped in one.

-When the feedback cuts out at the end of "Good Morning Captain" by Slint. Always reminds me that I haven't been breathing for the minute and a half of the "I MISS YOU" coda.

That instrumental/keyboard fill in Kanye's 'Last Call' just after he talks about Bun-B's girl at the Source awards.

The first line of 'Maggie May'.

The conversation with the telephone operator in the middle of "Nine Times" by the Moments.

The MELLOFUCKINGTRON solo at the end of "The Train Runs Over the Camel But Is Derailed By the Gnat" by the Flaming Lips

-"Oooooooooh, barracuda!"...c'mon, don't tell me you don't sing along to that part, at least.

-Oh, and when Marvin Gaye's voice breaks in "Stubborn Kind of Fellow". Oh dear.

-- sleeve (sleev...) (webmail), May 29th, 2006 11:42 PM.

No, do not fuck that Sonic Youth thing you were just talking about. It is not to fuck. It is good. BWWWAAAAAAAAAAaaaaaaaaOOOOOoooooooooow. (But I will listen to the Coil and compare.)

that topsy-turvy vocal-to-drum-beat change at the very beginning of "head head high" on vu's loaded.

the first (more than the first or second) chorus of steely dan's "pretzel logic"

introduction with that long clarinet (?) swoon then timpani thuds at the beginning of gershwin's "rhapsody.."

"she keeps the pumping straight to my heart" in nirvana's aneurysm

that nifty electric keyboard fill in miles davis' "pharoh's dance" at 18:36 that, to me, brings resolution to all the chaos.

that topsy-turvy vocal-to-drum-beat change at the very beginning of "head head high" on vu's loaded.

the first (more so than the first or second) chorus of steely dan's "pretzel logic"

introduction with that long clarinet (?) swoon then timpani thuds at the beginning of gershwin's "rhapsody.."

"she keeps the pumping straight to my heart" in nirvana's aneurysm

that nifty electric keyboard fill in miles davis' "pharoh's dance" at 18:36 that, to me, brings resolution to all the chaos.

cat power - 'nude as the news' - "he's nude as the news, all over, all over, all over!"

sonic youth - 'hey joni' - from 2:10 right through to the climax and close of the song, but if i had to choose a specific moment it would be lee ranaldo's "heeey" at 3:31. outstanding

there's plenty more. i'll post them when i think of them

Right before he launches into a soaring, sweet, soulful verse, he commands you, the listener with a forceful SHH!

-- Merry Clayton's "Hate! Murder! Is just a shot away, is just a shot away." Followed by Mick's "Love, sister, is just a kiss away . . ."

-- The little delay, followed by the syncopated guitar lick, then the sweet, multipart harmony "Third-rate ro-mance, low-rent ronnn-de-voo"

-- When the glockenspiel suddenly shows up at the party in "Thunder Road" and confirms that we are so far over the top we're never going home again

The song was my first experience with non-Big Beat electronic music. That flittering keyboard melody gliding over the top of impossibly fast drums blew my tiny mind.

The moment that kills me: the drums accelerate until they're almost a drone, then completely cut out from underneath and leave you floating on a single keyboard note. I gasped the first time I heard it.

doot doo doo doot do...

The solo to Built to Spill's Live version of "The Plan"

The "mamasan" outro to "Wanna Be Starting Something."

The second verse to "Gimme the Loot" in its entirety.

The first few seconds of "Sway" when the first riff kicks in ... best 0 to 60 full-throttle moment in all of rock.

Moments throughout Sabbath's Master of Reality ... pure joy recycled over and over again.

Have been debating with myself whether to admit that lol

There are others, typical breakdowns from some dance songs... eg, tiesto remix of adagio for strings!