Fleeting moments of musical geniousry -OR- Seconds of Pleasure

I'm a wobbly jelly, You're a pink blancmange I'm a sherry trifle, you're a chocolate sponge My dad wears a paper hat, yours inflates balloons Whoops, deedledee dee pop Here comes the spoon.

we need more people like viv stanshall.......

In terms of "mental," utterly magically euphoric musical moments where it seems like everything is right with the world for a few fleeting nanoseconds, I'm motivated to cite:

- The final moments of the live version of "Red Right Hand" by Nick Cave & the Bad Seeds available on the 'bonus disc'("Live at the Royal Albert Hall") on his BEST OF NICK CAVE & THE BAD SEEDS, - starting at exactly 4:47, when Mr.Cave brings down it all down with an impassioned "yeAHHH!" and the Bad Seeds proceed to kick the snots out of the remaining moments. Righteous!

- As much as I hate the mention them -- being that ILM sometime seems like their own hallelujah choir, but the core of Radiohead's "Just" off THE BENDS -- specificaly at 2:25, when after a momentary pause, Johnny Greenwood's plaintive, echoey guitar practically convulses with the sonic embodiment of self-loathing. A little further down the line - 3:31 to be precise- that same guitar gets tired of life in the backseat and lunges forward, overriding the entire operation in a reckless suicide drive that sounds like the Stone Roses on crack. Masterful beyond words.

- In the crux of Gang of Four's signature "To Hell With Povery," at 2:49, when Hugo Burnham slams the brakes on the drums to reveal Andy Gill's screaming, discordant guitar and Dave Allen's funk-thwacked bass. Glorious. A close runner-up being their ripping live version of "What We All Want" from the ANOTHER DAY ANOTHER DOLLAR e.p., when Gill's wobbly, staccato guitar torrent battles for supremacy with then-newly-recruited Sara Lee's bottom heavy bass at exactly 4:08. Moments when it seemes like they were verily the greatest band in the world.

- Probably not a popular choice, but from the live reading of "Rusholme Ruffians" on the live Smiths album, RANK, after Morrissey echoes the line about flinging oneself from the ferris wheel for the second time at exactly 2:56 and the band completely gells and sprints through the rest of the number in a flurry of furious strummed Rickenbackers.

- Invariably a *REALLY* unpopular choice round these parts, but the final verse of "Marian" by the Sisters of Mercy off FIRST AND LAST AND ALWAYS, starting at exactly 2:56 when Andrew Elritch delivers his final forbidding kiss-off in perfect, frigid German while the boys hammer out the gloomy proceedings like heartless metronomes of death behind him. O Rage. O Despair.

- Right when it seems the song's run it's invariably very weird, psychobluesy course, Tom Waits' kicks up "Filipino Box Spring Hog" off MULE VARIATIONS up another notch at 2:10, when he barks out a laundry list of bizzaro world delicacies, starting off with "Rattle Snake Piccata with Grapes And Figs" over pavement-cracking percussion and hefty dollops of distorted guitar and wheezing mouth organ. Intense.

- Taking a breather at exactly 2:15 into the song to grunt strenuously around the middle-eight of "Kings & Queens", burly Killing Joke drummer Big Paul Ferguson ushers in Geordie K. Walker's signature sinestro guitars to snake around the main riff like a hungry hammerhead shark. C'mon....you *KNEW* I had to mention Killing Joke.

- At exactly 00:17 into the Stranglers' "Five Minutes" when over Dave Greenfeld's solitary low-end keyboard note, Hugh Cornwell's guitar intertwines and duets with itself and JJ Burnell's bass before launching whole fucking hog into the main riff, propelled by Jet Black's stiff-backed drum battery. Everything I'd ever wanted in just a brief fistful of seconds.

- At the risk of thoroughly yanking the rug of credibility out from under my earlier choices, I have to sheepishly admit to always looking forward to the exactly moment in INXS's "Listen Like Thieves (3:26 to be perfectly exact) when a second, chiming guitar flys in overhead like a bastard hybrid of the Cult's Billy Duffy and the Pistols' Steve Jones over the chorus.

Can't cite the exact minute/second, as I'm not sure if it even exists outside of vinyl, but there was a moment on one of Venom's live e.p.s, CANADIAN ASSUALT at the tail-end of "Welcome To Hell" where Cronos is introducing the band members (all other two of'em) and introduces tow- headed viking guitarist Mantas....where he'd be chugging along with one ominous note played like the snapping jaws of an approaching crocodile, he spreads his infernal wings and busts into a one guitar rendition of Grieg's "In the Hall of the Mountain King" that sounded like Satan gargling. It used to make my pulse quicken and the distinct stech of brimstone seep from my woofers and tweeters.

i think we should list the stone-dead classics, the moments that actually CHANGED shit for good

not much gets past Mercury Rev - Chasing A Bee 3:10

or in a similar vein Mogwai - Yes! I Am A Long Way From Home 3:43

wai 2 announce presence, guys