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  #31  
Old 09-26-2014, 08:20 AM
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The bit in FM's One O'Clock Tomorrow where Nash the Slash starts wailing on his electric mandolin. Up until that point the song is gentle and pleasant, but then at 1:46 Cameron Hawkins launches into a falsetto and immediately afterwards you hear the most righteous fucking riff. Then Nash plays a rad-as-hell solo while Hawkins and Martin Deller (the drummer) provide a rockin' rhythm section. And then the song gets even better, but I won't spoil that.

The bit in Yes's Perpetual Change that starts at 5:10. The melody slowly goes over to the left speaker... and then from the right speaker comes a Hammond organ playing an incredibly low, raw, crunchy version of the song's main melody. And then on top of that comes a guitar solo, and on top of that comes a synthesizer solo, and it's all blending together and chaotic, and then the synthesizer brings everything back to the main melody.

The final section of Caravan's The Dabsong Conshirtoe, entitled "All Sorts of Unmentionable Things" (starts at 12:50). It seems at first like the rest of the song is just going to be Caravan rocking out, which would've been fine... but then dissonant strings start popping up, and you start to make out seemingly-random audio samples. Then you start to hear snippets of previous parts of the song in the background, but they're faint, so it's just loud enough to be unsettling. It keeps getting more and more dissonant and off-putting, and the band are still rocking out the whole time, and by this point the volume's grown so much that it's fucking cacophonous, and then the ending section of the first song on the album (The Show of Our Lives) slowly starts creeping in from the right speaker. The two songs are clashing at first, but then the Conshirtoe slowly gives way to that ending section until it's playing by itself, only this time you can faintly hear a righteous guitar solo that wasn't there at the beginning of the album, and the song fades out on that.

The bit in Yes's Siberian Khatru at 3:15 where a harpsichord solo comes out of nowhere. It's short, but it's also fucking perfect and gets me every time I listen to it.

The bit in Beggars Opera's The Fox at 1:27 where things slow down and that fucking bassline starts playing. Then later on at 3:09 where Martin Griffiths just unleashes a full force howl (that's the only way I can think of to describe it), and Ricky Gardiner plays an almost mournful guitar solo while Gordon Sellar repeatedly pounds out an intricate drum fill.

The bit in Chris Squire's Silently Falling that starts at 3:25 and carries on for the next few minutes. Bill Bruford is just hammering away on drums while Squire lays down a crunchy bassline, and then at 3:57 Patrick Moraz comes in with a fantastic Hammond organ solo. It keeps going and just builds and builds and gets louder and louder until everybody is playing full force and you almost can't take it... and then it stops, and is replaced with the gentle motif at the beginning of the song.

Okay, I'm done now.

Last edited by Soren Highwind; 09-26-2014 at 11:13 AM.
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  #32  
Old 09-26-2014, 06:39 PM
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Here are some for me.

The build up in There's An Arc and the bridge in Yer Spring, both by Hey Rosetta!

Basically all of Love, Ire & Song, the first chorus and second verse of Love Live the Queen and the entireties of both Eulogy and The Ballad of Me and My Friends, all by Frank Turner.

Then, from Tegan and Sara, Tegan's "uh" in the first verse of I Hear Noises and the end of Now I'm All Messed Up when there's the call and answer of "Go!" and "Please stay!" Also, a million other little moments from Tegan and Sara songs.
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  #33  
Old 09-27-2014, 11:38 PM
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The most obvious choice: the drums at 3:07 in "Dancing On My Own".
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  #34  
Old 10-22-2014, 11:25 AM
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If we're talking about Pink Floyd, how about the ending to Sheep where the band jams the flesh off our faces
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  #35  
Old 11-30-2014, 12:19 PM
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That 20-second bridge between Another Brick In The Wall pt. I and II.
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  #36  
Old 12-01-2014, 05:44 AM
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Default HE SAID YOU SPENT ALL YOUR HEART ON SOMETHING THAT HAS DIED. YOU ARE NOT ALIVE.

The two-minute mark in White Face Black Eyes where the song suddenly changes from one guy playing a few guitar chords to a mother fucking orchestra.

And let it lie
Let it fly
Away


God it gets me so bad.

Last edited by BEAT; 12-01-2014 at 05:48 AM. Reason: AND THAT CAN'T BE YOUR LIFE. LOVE WHAT YOU CAN, LOVE WHAT YOU CAN TILL IT DIES.
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  #37  
Old 12-01-2014, 09:13 PM
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Fire in the hole.

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  #38  
Old 12-02-2014, 07:44 AM
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Oh also, The second chorus of "If you could save yourself you'd save us all".



Incredible video too.
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  #39  
Old 12-03-2014, 02:59 PM
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Screams at the end of "State Trooper" by Springsteen.
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  #40  
Old 08-16-2015, 12:16 PM
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Pretty much any given second of Rebel Yell is designed to make me stop what I'm doing and Rock the Hell Out
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  #41  
Old 08-20-2015, 06:09 PM
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That part of "Combat" Baby by Metric when Emily Haines sings "No one here wants to fight me like you do" and her voice takes on an affected deepness on "like you do." She does the same thing on "Wet Blanket" the second(?) time she says "give a little kick." I love that.
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  #42  
Old 08-21-2015, 01:43 AM
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I was not there for rehearsal, I don’t need it any more
When I show up just in time to pop you can clear the goddamn floor
Empty out the locker room, let me find my space
Let him who thinks he knows no fear look well upon my face
Nameless bodies in unremembered rooms
Know how a man becomes a beast when the wolfbane blooms

Sail past all the grasping hands, floodlights white and hot
Bring my vision into focus, find out what I’ve got
Some sniveling local babyface with an angle he can’t sell
Full werewolf off the buckle like an angel straight from hell
Nameless bodies in unremembered rooms
Run howling through the carnage when the wolfbane blooms

Half the city sound asleep and safe inside their beds
Get lost inside my thoughts and nearly tear his face to shreds
Blood pooling on the canvas as the atmosphere gets hushed
Bring your heroes to the wolf’s den, watch them all get crushed
Get told to maybe dial it back backstage later on
Everyone still in this building right now: dead before the dawn
Nameless bodies in unremembered rooms
The pure at heart go putrid when the wolfbane blooms
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  #43  
Old 08-25-2015, 09:43 AM
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Quote:
Originally Posted by madhair60 View Post
I was not there for rehearsal, I don’t need it any more
When I show up just in time to pop you can clear the goddamn floor
Empty out the locker room, let me find my space
Let him who thinks he knows no fear look well upon my face
Nameless bodies in unremembered rooms
Know how a man becomes a beast when the wolfbane blooms

Sail past all the grasping hands, floodlights white and hot
Bring my vision into focus, find out what I’ve got
Some sniveling local babyface with an angle he can’t sell
Full werewolf off the buckle like an angel straight from hell
Nameless bodies in unremembered rooms
Run howling through the carnage when the wolfbane blooms

Half the city sound asleep and safe inside their beds
Get lost inside my thoughts and nearly tear his face to shreds
Blood pooling on the canvas as the atmosphere gets hushed
Bring your heroes to the wolf’s den, watch them all get crushed
Get told to maybe dial it back backstage later on
Everyone still in this building right now: dead before the dawn
Nameless bodies in unremembered rooms
The pure at heart go putrid when the wolfbane blooms
If we're going with just one moment from it, I think it's the sneer on "sniveling local babyface".
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  #44  
Old 08-27-2015, 01:36 AM
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It's the whole song with emphasis on "dead before the dawn". I listen to it in the car a lot, and sing along at full volume.

My best friend, who had never listened to the Goats, became a fan after I played this song to him. Genuinely laughed out loud at "maybe dial it back".
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  #45  
Old 09-02-2015, 06:10 PM
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Here's a couple of subtle ones.

In Hey Jude, when the backing vocals say "Let it out and let it in..." before the lead vocal.

In Hotel California, the drummer answers a phrase of guitar solo with a syncopated hi-hat. It's the exclamation point of the whole song.
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  #46  
Old 09-09-2015, 12:39 PM
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Kate Bush, "Running Up That Hill": c'mon baby, c'mon darlin', let me steal this moment from you now

Neko Case, "This Tornado Loves You": I miss, I miss... how you'd sigh yourself to sleep when I'd rake the springtime across your sheets

Rilo Kiley, "Spectacular Views": we see the stars from where the birds make their homes staring back at us. indifferent, but distanced perfectly, projected endlessly, IT'S SO FUCKING BEAUTIFUL!!

Weezer, "Only in Dreams": the whole song really, but the way out builds up and then rocks the fuck out at the end... gets me every time.
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  #47  
Old 02-01-2016, 04:37 PM
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A key change in a song designed to loop is a hella ballsy move.

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  #48  
Old 02-05-2016, 11:32 PM
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Quote:
Originally Posted by KCar View Post
Fire in the hole.

This is a good choice, and along the same lines, pretty much everything from 1:57 to 3:00:

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  #49  
Old 02-12-2016, 11:51 PM
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The line "SOUTHERN MOTHER FUCKIN DEMOCRATIC-REPUBLICANS" in Washington On Your Side from Hamilton
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  #50  
Old 02-13-2016, 05:28 AM
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If we're doing Hamilton lines, the wholr bit in Right Hand Man after he accepts Washington's offer: "Son we are outgunned, outmanned/ You need all the help you can get, I have some friend - Laurens, Mulligan, Marquis de Lafayette."
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  #51  
Old 03-22-2016, 03:15 PM
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"Oh baby" in Rock n Roll High School is top five oh babies in history
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  #52  
Old 03-22-2016, 08:46 PM
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In a way Joey came along 20-30 years too late to fulfill his true calling as the living god of doo-wop.
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  #53  
Old 03-23-2016, 07:29 AM
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Quote:
Originally Posted by The Raider Dr. Jones View Post
In a way Joey came along 20-30 years too late to fulfill his true calling as the living god of doo-wop.
"At #33 is a fresh cut from those Queensboro hepcats, JR Hyman and His Hy-Tones: 'I Wanna Be Your Boyfriend.'"

Run that up a flagpole and I'd salute
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  #54  
Old 01-07-2017, 04:36 PM
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The denouement to "Gun" is brain-blowing bliss for me:



It's not quite the same level, but "CVMC" comes close.
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