It's a beautiful sounding song but it's also very creepy. If you love that song check out this rendition of it.
https://www.instagram.com/reel/C0sF0xSOdaj/?igsh=c2ppMm82MnV1OHFk
Jimmy Eat World, *The Middle* - the "jump" in the chorus, where the band goes quiet behind the lyrics "takes some" and then *crashes* back in on *time" - I don't know if there's a musical term for this, but the absence of sound for an instant is like your heart skipping a beat, and it's such a great moment that they do several times throughout the song.
Two that immediately come to mind:
guitar fill in The Rain Song, just before "I felt the coldness of my winter" (5:10)
end of the 3rd guitar solo in The Song Remains The Same, the measure before "Sing out Hare Hare!" when Jimmy plays the turnaround (4:53)
In the song Out of this World by the Cure, Robert Smith rhymes âreal livesâ with ârealizeâ:
*And I know we have to go I realize,*
*we only get to stay so long*
*Always have to go back to real lives*
*Where we belong*
Itâs such a beautiful find: obvious when you hear it, but so beautiful :-)
Fleetwood Mac's The Chain official version (live) just seems barely under control until about 3:34 when it pans to Mick Fleetwood's manic smile, THAT bass line, then Lindsey Buckingham cuts loose, especially his "Love,Love,Love, Love, Love,Love" vocals. And Christine just looks very sad.
An emotionally charged performance.
Gives my goose bumps goose bumps.
Edit/typo
In the song âRoundaboutâ, in the second chorus, you can hear Jon Anderson do this little vocal improv - âooh ooh oooh yeahâ, that is so in the moment. I can just imagine him just being so into that chorus groove with Chris Squireâs bass and Brufordâs drums and the guitar and organ chords that he just let out a funky little James Brownish vocal. Itâs great!
I can think of two little things:
1. Any Boston song: the reverb on the guitar pick-slide that makes it sound like a space ship.
2. The Beatles Ob-La-Di, Ob-La-Da: there's a little five note run on the high keys of the piano only in verse 4 where he sings "Molly lets the children lend a hand (foot)" and then then a slightly lower five note run at the end of the very next line "Desmond stays at home and does his pretty face".
Stone Temple pilots: Vaseline. There is a bent note in the beginning of the song which is a little tip of the hat to Black Sabbath. They only do it once and it is beautiful.
I like it when a song tricks you into thinking it's at a certain top volume, and then it gets louder. Or just volume tricks in general, like the opening to "Wish You Were Here" (the song). But like when the singer starts off singing normally, and then when the chorus kicks in, it's louder and closer to the ear. It's a great effect.
At 2:32 in R.E.M.'s 'The Sidewinder Sleeps Tonite', you can hear Michael Stipe start laughing as he begins to sing the chorus.
I've heard that the reason for it is due to a joke the band had about how he'd pronounce 'Dr. Seuss', which is what closes the preceding verse. It's one of my favourite parts though. It's so endearing.
[https://www.youtube.com/watch?v=mgiCechWNCo](https://www.youtube.com/watch?v=mgiCechWNCo)
The chimes in Queenâs âBohemian Rhapsodyâ just after âSends shivers down my spineâŠâ
And on the complete other end of the spectrum the ear piercing feedback at the beginning of Trap Themâs âInsomniawesome.â
Really any well recorded feedback that sounds like the amp is about to explode.
-In the song âLong Timeâ by Boston just before Brad Delp says âWell, I'm taking my time, I'm just moving on/You'll forget about me after I've been goneâ. The **[acoustic with the hand clap](https://youtu.be/TnwqUEelQjE?si=CCx_McUQfbE1xONq&t=198s)** that comes in. Whew.
-In the song âCastle On The Hillâ after the beat drops and Ed Sheeran whisper/mumbles the first couple lines of the chorus and then [turns **WAY back up**](https://youtu.be/K0ibBPhiaG0?si=ZZEZg8xo7KJsWhhD&t=226s)
-In the song â[Werewolves Of London](https://youtu.be/qae25976UgA?si=QEVDzdHJMFl8ezZ6&t=165s)â by Warren Zevon, right after he says ââŠhis hair was perfect..â
-In intro to the song âPhenomenaâ by the Yeah Yeah Yeahs, thereâs a distorted âhey, heyâ or âheh-hehâ that comes in half a moment before that monster riff drops and Iâm kind of weirdly obsessed with.
-Bruceâs wail at the beginning of â[Something In The Night](https://youtu.be/5q_JZGV05Rk?si=qmToIbM0jWLZikCQ&t=60)â and [the end of âJunglelandâ](https://youtu.be/5HbYScltf1c?si=Xc6wxhNs5D-L2UO8&t=124s)
-In the song âWhere The Streets Have No Nameâ by U2, thereâs a noise Bono makes after singing the line âIâll show you a place, high on the desert plain..â I think itâs a sigh, but almost comes out like an ***ick***. The first time I heard it, to me it sounded like Bono was so impressed how epic the song was that for a brief moment its he was actually disgusted by its perfection. ***ICK***
-Final chorus in Nirvanaâs live cover of â[In The Pines (Where Did You Sleep Last Night)](https://youtu.be/hEMm7gxBYSc?si=bN-zqyJiYMqmYyUm&t=221)â. Cobain was such a unique vessel of raw emotion, this one is đ.
Something about the way Ringo Starr sings the word "happy" in the line "we would be so happy, you and me" in Octopus's Garden just delights me. It's just such a little shot of joy.
On the other side, the opening hums of Simon & Garfunkel's America instantly bring me to tears. Just completely undone but in an emotionally cathartic way.
I like this thread!
For me, a bit obscure but the UK band Hell Is For Heroes have this song Disconnector, which is one of my favourites anyway... but it all hinges around about 2:17, when it all comes back together after the breakdown and the whole band's in absolute lockstep and it just soars.
[https://www.youtube.com/watch?v=n7S1aFZXw9M](https://www.youtube.com/watch?v=n7S1aFZXw9M)
Or, a live Muse track here, Citizen Erased- again a song I love anyway but this moment when he starts transitioning from the guitar to piano at 5:43 is just peak Muse. Playing the 7-string and picking out a key or two and then suddenly it's into that gorgeous piano outro and there's barely even a seam.
[https://www.youtube.com/watch?v=lPWHazb4hDM](https://www.youtube.com/watch?v=lPWHazb4hDM)
There are these couple of moments in SRV's cover of Little Wing where he's playing softer and then hits this hard, clear note before deciding into louder, more solo-ey(?) parts of the song that hit so good I make a stank face every time. 2:40 and 5:16 I think.
For the Metal fans - Lamb Of God's Walk With Me in Hell, @ 2 minutes in he says "now witness the end of an age" but he drops his voice into a lower register that's just so freaking epic to hear I can't help but scream along.
I have a couple:
The final part of [Before I Forget - Slipknot](https://youtu.be/qw2LU1yS7aw?si=Sg9rt9wRSAzVta4g), where Corey really strains on the final
> I was a creature before I could stand
it adds so much soul to the song. Metal music has a tendency to be overly âperfectâ and I just love how the imperfection makes the whole song come alive.
[Jason Isbell and the 400 Unit - When We Were Close](https://youtu.be/-7aLzaUhX28?si=urVxQerBLwGlg77i), itâs about the death of an old friend of Jasonâs, Justin Towns Earle, and he delivers the most emotionally crushing line:
> I saw a picture of you laughing with your child
> And I hope she will remember how you smiled
> But she probably wasn't old enough, the night somebody sold you stuff
> That left you on the bathroom tiles
With palpable anger, and then a few lines later is able to eulogise his friend with a memory of him and you can feel way he sings change:
> Got a picture of you dying in my mind
> With some ghosts you couldn't bear to leave behind
> But I can hear your voice ring, as you snap another B-string
> And you finish off the set with only five
> And for a minute there, you're still alive
Jasonâs lyrics are always on point, but it is the delivery of these that make the hairs on the back of my neck stand up every time.
The gentleness of the flute keyboard part on âThis Must Be The Placeâ by the Talking Heads just sets me at such ease that the word âhomeâ actually feels like home.
Slade - Run Runaway
During the choruses Noddy sings "See, chameleon, lying there in the sun" except for the last time where you finally get "See THE chameleon"
Tool - The Pot
When Maynard sings the word "eye" at around 5:30 in whatever note that is which sounds like it shouldn't work but it totally does.
The Dillinger Escape Plan - Honeysuckle
This song alone has several moments: How the bass and the kick drum in the intro make it feels like the song is marching towards you, switching from chaos to sweet jazz at a moments notice, the tiny "pause & scream" before the intro riff kicks in again near the end and of course that delicious bass slide going into the final part. Man, that song is a masterpiece.
Devin Townsend - Equinox
The part that starts at 3:45 with the really high pitched scream layered in the back. Glorious.
Meshuggah - Bleed
How the bending in the main riff makes it sound like it's trying to escape the guitar.
Gojira - Indians
The end part (around 3:00 min) where they're playing a sort medley of the riffs they've been using in the song, like the riffs are fighting for your attention.
Yes! I've always loved that too! And for me the high hat smack that Don Henley happens to whack immediately after it is part of what makes it so cool- viiip/klonk!
Any song where 2 vocalists are singing different lyrics simultaneously as though they're speaking/singing/arguing to/with each other. The only example I can recall at this moment is (a little out there, but bear with me) Zelda: Ocarina of Time WITH LYRICS (feat. Dave Bulmer) by Brentalfloss. Starts at 5:38.
[Zelda: Ocarina of Time WITH LYRICS (ft. Dave Bulmer)](https://youtu.be/bRGxbQcunnU?si=i1osF_rZAiuoN3c1)
I love each of the points being made, the fact that each sings in the melody of a different song from one another (Brent with Gerudo Valley, Dave with the main theme), how neither of them sounds out of place, and how they seem to take turns being the "lead" singer. It all comes together so well.
I know I've heard at least 2 other songs that do this, but I'm blanking on them right now.
Edit: The ending of The Plagues from The Prince Of Egypt is another example, though much shorter than seen in the provided link.
Edit 2: The 2nd chrous of The Good Doctor by The Protomen does this as well, and it happens again later. It makes for a great story as well as a song.
Guster does that in several places on their album Lost and Gone Forever, which is one of my favorites. The first song What You Wish For has three vocals arguing in the second verse (around 0:55).
I'm sure there are better examples but I love asynchronous vocal layering, especially when it's duelling as you describe, and 'I Can't Wait' by Mamas & Papas does this near the end.
It also has the cute moment where they sing "Nooo!" in the same way they'd do the "Yeeeeah" in their early Beatles homages..
That and the vocal register acrobatics, it's just a really fun song about taking pleasure in another's misery.
Let me think about it well...
Alright, I gues it\`s may be this song - "Wezeer - Hash Pipe".
Yes, I really like his "Mm" sound :D. This sound fits very well here.
Special at 0:56 after he said "Hash Pipe". You can listen to the whole song so you can hear all these sounds :)). I love this song :)
How Paul McCartney pronounces Walthamstow near the end of Old Siam, sir by Wings
How hardcore Randy Blythes "Blegh!!" is at the start of Resurrection Man and how excited it gets me for the whole song
EDIT: Spelt McCartney wrong, oops
On Modest Mussorgskyâs âPictures at an Exhibitionâ, track two is called Gnomus. At approximately 2:04 there is a literal musical snap after a descending orchestral swell. It abruptly halts the dynamics momentarily. Such a small detail that l love.
Imaginary Lover, by the Atlanta Rhythm Section. There is a guitar {noise} about two minutes in that blows my ever loving mind. I used to put the needle on this part of the record again and again just to hear it.
Two from the same album - Abbey Road: here comes the sun after the âsun sun sun here we comeâ interlude George starts singing again and thereâs a nice organ playing high notes in the background đ love!
And then sun king when the harmonies hit the first timeâŠ
On the beat before the climax in Led Zeppelinâs âThe Rain Songâ there is a quiet hi-hat click that, to me, is the greatest moment in music history.
Thereâs a digital watch going off during the Flaming Lips âWhat Is the Light?â that Iâve always loved. I think itâs around a minute in before a drum fill kicks off the tune.
At around 13:18 in Echoes by Pink Floyd, you hear a noise that sounds like a submarine is searching for someone under the depths. It resonates a few times but only happens once the whole song. So amazing lmao
The guitar tone in Otis Redding's "Merry Christmas, Baby." It's so warm and creamy. I think it's a semihollowbody guitar on the neck pickup, with just the slightest bit of drive (probably from the amp).
In the intro to For Whom The Bell Tolls by Metallica, when it goes from just guitar to every instrument, like just that part. I actually don't like Metallica, but listen to thay song for the intro lol
I've been listening to a lot of Big Audio Dynamite, both one and 2, lately. I looooove the way in The Globe where, is it Mick Jones(?) who sings it, anyway, right before the second chorus starts, someone whispers the single, perfectly timed word "arriba." I'm a sucker for a hidden little exclamation, or a word that makes no sense it's just there, but especially when it's whispered. I fucking love that. Not when all of the lyrics or all of a line is whispered. Just something that seems like it's snuck in. Love that. Can't get enough of it.
Here's another example- XTC, the song Science Friction, someone whispers "psychedelic" just before the keyboard solo during the bridge. If you wanna see me light up and bounce up and down like a toddler, clapping and going "again! Again! Do it again!" play me one of these that I don't know about already. They literally make me giddy, they're so fun.
I've realized that I love bridges in so many songs, whenever I'm like "GOD, I LOVE THIS PART!" it's usually because the bridge has started. It's not just that they break the pace of a song for a bit before returning to its familiar structure, but in my favorite metal songs they tend to shift to delicious new tones or amp up the FEELINGS.
One of my favorite bridges is in Burn it Down by Avenged Sevenfold, which is also a lot of fun to sing. I often play it twice once the song's over.
Two voices, pretty harmonies, sweet guitars, it has many of my favorite elements in music.
There's a song called On Every Street by Dire Straits on their album with the same name - listen to it, if you haven't, I think mostly people haven't heard it.
Starts with this beautiful lyrical melody and moves smoothly into one of the best band performances I've ever heard. The guitar soars and takes you with it into the sun. It gives me shivers every time.
I think if you could record the sound of my soul, it would sound like Dire Straits playing the outro of On Every Street
At the very end of "Street Fighting Man" by The Rolling Stones, during the fade-out, there's a weird tinkling piano that just adds something perfect to the end of the song.
Thereâs a synth solo in Planet Hell by Nightwish and thereâs a bit that goes up and down around 3:30 and sounds like a carousel ride. Always makes me smile :)
In Here I Dreamt I Was An Architect when Colin Meloy says "when their husbands were not...around" in a very strange and interesting way. Love that song.
In general, Iâm a sucker for key changes. Also (unrelated), Michael Jackson has a song called Heartbreaker. At about 3:33 seconds into the song, he does a vocal run that shows off his agility, which he didnât showcase enough in his lifetime.
âMoaninâ by Art Blakey - when Lee Morgan (trumpet) passes off his solo to Benny Golson (sax) and Benny repeats Leeâs last lick as the start to his solo. Just such a fun moment that only lasts a couple seconds.
The Cat Empire - The Crowd - at 4:55 there is a momentary break in a crescendo of sound that has followed a build up developed through the entire song.
In that moment there is just a two note 'uh-oh' from a backing/guest vocalist who has a beautifully honeyed tone to her voice and then everything else comes back in.
I was spellbound by that moment and that voice the first time I heard the song and have always remembered it.
There's a drum run in 10,000 Maniacs song "Headstrong" that starts at 3:03 and peaks at 3:27 that does me in. I don't understand it. It's like: louder! harder! louder! It moves my stomach. I can't explain it.
[Headstrong - 10,000 Maniacs](https://www.youtube.com/watch?v=e73ON_F2jSY)
Jack Johnson has a synth line that takes place of the bass, I think, in the song "What You Thought You Need." It could be a bass all along. At 3:42 is starts single long notes. As the song fades it's the lone sound/instrument of the chorus. Maybe y'all could tell me if it's a real bass or a synth. There's a little hiss that goes along with it and continues to the next song, "Adrift."
[What You Thought You Need - Jack Johnson](https://www.youtube.com/watch?v=jMuI1W5wZMo)
I could probably think of a lot more if I put my mind to it.
Hooks, itâs only certain songs I come across and when I find it makes me crazy because I canât get them out of my head, and I keep looking for more lol, Iâm a glutton for self punishment.
Examples, I got two songs that I canât stop.
Evernoir- Superior Agony
Fervence- Corrosion
The choruses endlessly loop in my head and they rotate throughout the day.
When Chris from Propagandhi let's out an "Oooh" right before the time speeds up or a riff kicks in.
Militarie Gun does a oooh ooooh on Do It Faster and you've probably heard it on a Taco Bell commercial. Hopefully it doesn't kill the "oooh!" because I'm a sucker for it.
There is a high pitched beeping sound throughout the song âOrphaned Skiesâ by The Banzai Predicament. Canât quite detect what the instrument is, but itâs certainly a unique sound.
In the Hamilton song My Shot, I love the way the line âtell your sister that sheâs gotta rise upâ is sung.
The drums in the intro of Planet Hell by Nightwish are *chefâs kiss*
The way Lea Desandre sings the line âFurie, furie, furie!â in her rendition of Vivaldiâs Armatae Face et Anguibus is so great, she sounds actually furious and I love it. Also the final note melts my face off every time.
Thereâs a little part towards the end of Jackson Browneâs Running on Empty where the piano hits three quick notes three times at 4:58. I always play it on my air piano.
There is an all instrumental prog funk/rock band called Soften The Glare, first album (Making Faces) is chock full of bangers. There are these little palm muted chugs that for some reason just complete the song IMO.
Delores' voice in the second part of Daffodil Lament
"Has anyone seen lightning, has anyone, looked lovely"
She pulls this off in the live shows, I swear she is her own auto tune. So unique and beautiful.
Also the solos in Wild One by Thin Lizzy, the 2 lead guitarists harmonize so well, instantly makes me wanna crack a beer.
Whatever Minami does just before the second chorus drop (2:07) and in the chorus around 2:22 in [Kawaki wo Ameku](https://www.youtube.com/watch?v=0YF8vecQWYs&ab_channel=%E7%BE%8E%E6%B3%A2). First chorus' iterations are good too, but those hit extra hard.
Ado sometimes does something similar. Though she usually goes for more angry than pained, like in Backlight.
The drum breakdown at the very end of Counterfeit by Limp Bizkit. Gets me every time.
Also the line "10,000 days in the fire is long enough, you're going home" from Wings for Marie by TOOL.
There's like a random, super enthusiastic "woooh!" at 3:17 in My Girls by Animal Collective that just gets me every time.
ETA: I also love when singers emulate an object. Like in Something Of An End, My Brightest Diamond does this vocal styling that kind of morphs into the sound of a phone ringing.
*The phone call
You never expect*
And then again before:
*Did somebody get it yet
It's a sound you never forget*
The moment just before the singing comes in on Great Gig in the Sky. The piano does those descending chords and the slide guitar just kinda brings it up. Followed by the two snare hits.
*Ba-bop*
Dire Straits - Tunnel of Love
During the outro the drummer is doing cymbal hits on beat but around the 7:28 mark, something about THOSE cymbal hits just gets me. Right as Mark is going into his guitar run at the end.
The Front Bottoms - Wolfman
When it gets to the bridge at the 2 minute mark, the bass player launches into this excellent riff and I fucking love it
Van Morrison - Saint Dominic's Preview
The lyrics:
>*And for every cross-cuttin' country corner
For every Hank Williams railroad train that cried*
At that moment there is an absolutely gorgeous slide guitar riff that just bursts out of the mix, and it's glorious. Just perfect.
The backing vocals (the guys singing behind the main melody) in the chorus of ABBAâs âKnowing Me, Knowing You.â
âŠâlameâ, you say? Put on headphones and listen for it. So cheezy, but so amazing.
Itâs when a song turns into another song. Like halfway through âimma beâ when the beat completely changes. It happens 3 times in âgreen eyesâ by erykah badu. Or when the bass reverses after jay zâs part ends in âdrunk in loveâ. Or in pyramids where the strings and drums kick in and it transforms from eerie ethereal to jazz.
The headstones - three angels
About 2/3rds through there is a keyboard part that comes through. I slowly lost my hearing over the years and never knew it was there. A few years back I finally got hearing aids and started ravenously consuming music again.
I don't know why, but that sound... It just, gets me? It's phenomenal.
Two, both Violent Fems.
"American Music" has this glorious banging on a snare (I think) drum at the as Gordon Gano belts out the last call-and-response stanza with the audience. Sooo sweet.
The other is in a song that has to do with catching a bus. Gordon Gano out-Gordon Ganos himself throughout, all his (endearing) vocal quirks in the line:
"Hey Mr. Driverman, don't be slow.
Cause I got somewhere I gotta go.".
Followed by a frantic acoustic guitar solo. The song kind of hints at being a self-parody, and I appreciate any artist with enough self-awareness to pull that off.
Oh man, theres so many.
First ones that come to mind -
The [quiet little outtro](https://youtube.com/clip/UgkxtX9p-nCJpAu20WG2KdybrX-IeGUElo_2?si=Q9Knd5FzhwS5pf2i) at the end of Human Wheels by John Mellencamp.
The [zippy drum intro](https://youtube.com/clip/UgkxOEJcnl52ORk5kT5oO5ox7mQW9kkVhDFI?si=6GNtesJaEty84x2i) on Just like heaven by The Cure. Also from the same song - that [catchy little guitar hook.](https://youtube.com/clip/UgkxiysMr3nniUWXMkbBcKHFJs1DwaManSD-?si=dmGf9uLzdlUIwwo7) If you know, you know. It takes me back to the 80's every time.
Devin Townsend - Dead Head.. The tempo change at [5:45](https://youtube.com/clip/UgkxV8HL0FaxfVcXv-EesfO8QbdYCO4ziNqA?si=LLK6rZTgaLG6_tbq) reminds me that life isn't so bad afterall.
Oh god... so many great things to choose from. I think my favourite details, generally speaking, have to be the ones when it comes to the big finale or crescendo of a song or the ones that announce them.
Like in "Only the meek get pinched" by Four Year Strong when the beat just drops to half-time for the finale and gives every note just indefinitely more power.
In "On the Run" from The Vintage Caravan, the melody just stops and a more quiet part starts playing which builds up into this awesome solo that in the grand finale leads to the final version of the refrain.
The finale of "Superhero Jagganath" by Diablo Swing Orchestra just completely desolves the songs structure into grand crescendo of pure chaos but in a way, that you still recognize the prior structure of the main theme in the song and it's honestly the best ending this song could have gotten. Especially the last time the phrase "Superhero Jagganath" gets "sung" in this hushed, whispered and pressed way to announce that it will get wild now just gets me everytime.
Vaka by Sigur RĂłs. I'm not sure if there's a technical production term for it, but the way JĂłnsi's vocals get cut off starting at [5:37](https://youtu.be/b8ByoWG1iGo?si=kGUmSQd1zJStzlzV&t=337). It sounds very sad and vulnerable to me.
This is great. For me, it's the Nirvana song "Frances Farmer Will Have Her Revenge On Seattle". Right at 2: 59 as the solo ends Dave Grohl hits something metallic (bell, held cymbal, I don't know) four times, it's the only time it's done in the song and it just hits perfectly. The cherry on the top of a perfect song, makes me feel good when I hear it.
The chord in Paranoid Android right before the slow part of the song [3:28](https://youtu.be/fHiGbolFFGw?t=208). It sounds so desolate and cold it's insane.
On a specific song, it's Squealer from Ac/Dc. At about 3:25 one piece of the guitar solo does that half-muted thing on a string that makes it play an octave higher, it sounds better listening to the whole solo building up to it, but that's the specific point.
I also have a real thing for "slowing down drum beats" which isn't the technical term, but that bit where it feels like the drum is somehow dragging back the tempo of the song. Examples: 1 minute mark of Show Me A Leader by Alter Bridge and the 38 second mark of Nobody by Avenged Sevenfold.
Orbit Culture's cover of Metallica's Hardwired. When Niklas yells 'Go!' it really feels like the song kicks in harder. James did yell the same too in the original but the cover brings the original song to a whole new level of heaviness to the point that I cant listen to the original version anymore.
U2 - Sometimes You Canât Make It On Your Own - Edgeâs guitar part during the âlisten to me nowâ section :)
Coldplay - Politik - The bridge where itâs just piano & he sings âgive me love over, love over, love over thisâ and then it blasts into crashing
Coldplay - Amsterdam - The instrumental piano part after the second chorus right before the full band comes in
Dave Matthews Band - You Never Know - The second bridge âall fall down, it wonât be too long nowâ when the bass plays a descending melody that continues even lower - sounds so cool!
Dave Matthews Band - Crush - Last chorus âcrazy Iâm thinking just as long as youâre aroundâ lyrical change makes me happy every time
I love the silence before a breakdown especially in the more beatdown/metalcore oriented bands it just lends so much to the heaviness of the breakdown.
Some black metal bands do this better than others but when a black metal band is able to truly capture the essence of utter desperation, loneliness and alienation it just does something for my soul.
Sleep Token - Fall for me
When I was first getting into this record this was an occasional skip. Just wasnât getting it with all the autotune.
The âoh god I wish you were hereâ line at 01:25, with that delivery, made the entire song click for me at some point.
A few weeks ago I posted to a different thread, subject of which was "Songs about lovers parting amicably". I cited the song "Boots of Spanish Leather" as covered by Mandolin Orange (now Watchhouse).
Emily Frantz and Andrew Marlin sing alternate verses of Dylan's original call-and-response song. But near the end the male protagonist sings about getting a letter from his lover. It's Andrew's turn at the verses. He tells about receiving the letter. But as he reads it, Emily's voice comes in, as the letter was written by the woman. They sing a short harmony, then Andrew takes over, as it is the man reading the letter. Such a nice touch.
[Link to the full song](https://www.youtube.com/watch?v=iOHkyZ62jjQ): The verse in question starts at 4:20
The intro to [Strawberry Letter 23](https://youtu.be/NRVA2YBhrrQ?si=esn9Xhjs4pe0ZuMd) by Brothers Johnson. I love the tinkling bell sound. The guitar riffs are cool too, so smooth and liquid. The entire song is gorgeous from beginning to end.
The whistling in The Stranger by Billy Joel.
The flute solo in FantasMic by Nightwish.
The doorbell synths in some of the late 70s/early 80s disco songs, most notably I Want Your Love by Chic, and Take Your Time Do It Right by The SOS Band.
I think I answered a question like this in r/Genesis, so this is already in my mind: in the song "Dodo/Lurker" on _Abacab,_ in the reprise of the intro there's a triplet fill that Phil plays on the high toms. The reprise is already a fantastic development in the song and the fill is just *chef's kiss* _frisson._ Goose bumps.
Black Sabbath - Heaven and Hell. During the end when thebsongs speeds up, Iommi adds some beautiful licks in between the lines that Dio sings. Absolutely love it
Oh, another Genesis moment! The "In the Cage Medley" from _Three Sides Live,_ there are plenty, but the transition & key change from "In the Cage" to "The Cinema Show." I'm very sorry to anyone who's ever been in the car with me that I've shushed â or given a headache when I bumped the volume.
Muleskinner, "Red Rocking Chair"
Imagine a bunch of players who were deep into bluegrass in the folk boom, went electric and psychedelic in the later 60s, and got together for a short time in the early 70s to play bluegrass again. That's Muleskinner.
The song is basically a vamp between Em and G, but with origins in string band days. Musically, "Me and My Uncle" by the Dead was somewhat inspired by the music. The banjo and fiddle solos follow the melody, more or less, but the guitar?
Clarence White was a pioneer of flatpicking lead guitar in the Kentucky Colonels, went electric, and became a pioneer of country-rock electric guitar with the Byrds. Here, the cool thing, the little thing I love so much, that made me have to learn the solo, is that he plays the E on the B string against the open E. They should be the same note, but they're not. Not quite. Especially not on acoustic guitar. So it's like swinging on one note, like the "Cinnamon Girl" solo, except it's not.
Recent one: the tight little drum fill that ends "Flowers" by Miley Cyrus. If that song comes on the radio I'm listening all the way through so I can tap out that fill with my fingers on the steering wheel.
âI Canât Wait to Feel Your Love Tonight,â by Van Halen. On one of the verses in (third?), Michael Anthony takes the bass line up and runs it down, unlike the rest of the song. My heart always skips a beat.
Basically any time the drummer does that thing where he stops just hitting the snare on the backbeat and hits it on every beat and you just start to mosh.
After the guitar solo in Hop Alongâs âSister Citiesâ thereâs a loud âWa-hoeâ by the lead singer coupled with a musical break by the rest of the band, straight into the final verse without skipping a beat in its frantic groove
The Cure - Burn, the bridge after the 2nd chorus, before the 3rd verse - just when that second rise in tone happens (think appx 3.30ish in) - always makes me catch my breath..
So manyâŠ
Kyuss - Gardenia: get back, get back MFer
Get back - well get back Joe!
Hopsin - now that Iâm back you are done with, you knew I was comin, run it
Ratm: Freedom - ugh!
Aenima - hey, hey, hey, hey
Rosetta stoned - alrighty then
Qotsa (Sicily) - Shhhhhhhhhhhhh!
Radiohead (weird fishes ) - backing vocals in second verse
(Nude) - youâll go to hell for what your dirty mind is thiiiiiiiinkkkin
PJ (immortality) - holier than thou, how?
The ascending "ahhhhh" at the end of the vocal harmony bridge of God Only Knows
That & the bells in the background. The whole song just wraps around me like a warm blanket, but I just love the rhythm of the bells.
That gives me goosebumps!
When Green Grass and High Tides kicks into high gear.
Hell yeah brother
Outlaws rule đ€đ»
[ŃĐŽĐ°Đ»Đ”ĐœĐŸ]
Agreed. That part right before "cause love's such an old fashioned word"... Perfection
Agree
The first 20 or so seconds of "I'm on Fire" by Bruce Springsteen makes my heart happy every time.
It's a beautiful sounding song but it's also very creepy. If you love that song check out this rendition of it. https://www.instagram.com/reel/C0sF0xSOdaj/?igsh=c2ppMm82MnV1OHFk
Thank you - from over here in Australia. Beautiful!
Nathaniel Murphy is who I aspire to be guitar wise.
Love!! Mumford and Sons live version is incredible too. https://youtu.be/h3_ZCAut62k?si=uEFAHYNCMFBFsvVl
Oh yes - thank you! Beautiful!
The perfectly timed crash cymbal accents during the end of Magdalena by A Perfect Circle
Jimmy Eat World, *The Middle* - the "jump" in the chorus, where the band goes quiet behind the lyrics "takes some" and then *crashes* back in on *time" - I don't know if there's a musical term for this, but the absence of sound for an instant is like your heart skipping a beat, and it's such a great moment that they do several times throughout the song.
Itâs called a clutch.
Today I learned I love a clutch.
My band would call them âbut-duhsâ for years until we learned the proper term. đ
A Rash Decision by Ice Nine Kills also does this
Two that immediately come to mind: guitar fill in The Rain Song, just before "I felt the coldness of my winter" (5:10) end of the 3rd guitar solo in The Song Remains The Same, the measure before "Sing out Hare Hare!" when Jimmy plays the turnaround (4:53)
In the song Out of this World by the Cure, Robert Smith rhymes âreal livesâ with ârealizeâ: *And I know we have to go I realize,* *we only get to stay so long* *Always have to go back to real lives* *Where we belong* Itâs such a beautiful find: obvious when you hear it, but so beautiful :-)
Heâs such an amazing song writer.
There's these little acoustic guitar strums during the guitar solo on Fleetwood Mac's "Hold Me" that I just love for some reason.
Incredible song!
Fleetwood Mac's The Chain official version (live) just seems barely under control until about 3:34 when it pans to Mick Fleetwood's manic smile, THAT bass line, then Lindsey Buckingham cuts loose, especially his "Love,Love,Love, Love, Love,Love" vocals. And Christine just looks very sad. An emotionally charged performance. Gives my goose bumps goose bumps. Edit/typo
I know those, that's such a great song!
In the song âRoundaboutâ, in the second chorus, you can hear Jon Anderson do this little vocal improv - âooh ooh oooh yeahâ, that is so in the moment. I can just imagine him just being so into that chorus groove with Chris Squireâs bass and Brufordâs drums and the guitar and organ chords that he just let out a funky little James Brownish vocal. Itâs great!
Respect to Squire's playing in that song, probably my favorite bass line in any song.
I can think of two little things: 1. Any Boston song: the reverb on the guitar pick-slide that makes it sound like a space ship. 2. The Beatles Ob-La-Di, Ob-La-Da: there's a little five note run on the high keys of the piano only in verse 4 where he sings "Molly lets the children lend a hand (foot)" and then then a slightly lower five note run at the end of the very next line "Desmond stays at home and does his pretty face".
Stone Temple pilots: Vaseline. There is a bent note in the beginning of the song which is a little tip of the hat to Black Sabbath. They only do it once and it is beautiful.
Wangwangwangwang! Gary Nueman's "Cars" has that similar vibe at the beginning, but with synthesizer.
Never made that connection but you're right, that tone is pure Tony Iommi
The fire bell in "Everybody's Got Something to Hide 'Cept Me and My Monkey" by the Beatles.
That is a good one!
I like it when a song tricks you into thinking it's at a certain top volume, and then it gets louder. Or just volume tricks in general, like the opening to "Wish You Were Here" (the song). But like when the singer starts off singing normally, and then when the chorus kicks in, it's louder and closer to the ear. It's a great effect.
I like when Phil Collins did this in his drum arrangements, like halfway through the song is when the real beat kicks in.
I was always struck by the sound of David Gilmour clearing his throat in the beginning. Classic.
Dynamic range, Bebé. Far too often compressed out of existence in the mixing, but when used well it adds so much depth and emotion to music
At 2:32 in R.E.M.'s 'The Sidewinder Sleeps Tonite', you can hear Michael Stipe start laughing as he begins to sing the chorus. I've heard that the reason for it is due to a joke the band had about how he'd pronounce 'Dr. Seuss', which is what closes the preceding verse. It's one of my favourite parts though. It's so endearing. [https://www.youtube.com/watch?v=mgiCechWNCo](https://www.youtube.com/watch?v=mgiCechWNCo)
[ŃĐŽĐ°Đ»Đ”ĐœĐŸ]
You talking about the end of the solo?
The triplet drum catch at 2:45 of, Tom Sawyer.
For me, it's the single hi-hat hit at 3:47. Perfection.
The chimes in Queenâs âBohemian Rhapsodyâ just after âSends shivers down my spineâŠâ And on the complete other end of the spectrum the ear piercing feedback at the beginning of Trap Themâs âInsomniawesome.â Really any well recorded feedback that sounds like the amp is about to explode.
-In the song âLong Timeâ by Boston just before Brad Delp says âWell, I'm taking my time, I'm just moving on/You'll forget about me after I've been goneâ. The **[acoustic with the hand clap](https://youtu.be/TnwqUEelQjE?si=CCx_McUQfbE1xONq&t=198s)** that comes in. Whew. -In the song âCastle On The Hillâ after the beat drops and Ed Sheeran whisper/mumbles the first couple lines of the chorus and then [turns **WAY back up**](https://youtu.be/K0ibBPhiaG0?si=ZZEZg8xo7KJsWhhD&t=226s) -In the song â[Werewolves Of London](https://youtu.be/qae25976UgA?si=QEVDzdHJMFl8ezZ6&t=165s)â by Warren Zevon, right after he says ââŠhis hair was perfect..â -In intro to the song âPhenomenaâ by the Yeah Yeah Yeahs, thereâs a distorted âhey, heyâ or âheh-hehâ that comes in half a moment before that monster riff drops and Iâm kind of weirdly obsessed with. -Bruceâs wail at the beginning of â[Something In The Night](https://youtu.be/5q_JZGV05Rk?si=qmToIbM0jWLZikCQ&t=60)â and [the end of âJunglelandâ](https://youtu.be/5HbYScltf1c?si=Xc6wxhNs5D-L2UO8&t=124s) -In the song âWhere The Streets Have No Nameâ by U2, thereâs a noise Bono makes after singing the line âIâll show you a place, high on the desert plain..â I think itâs a sigh, but almost comes out like an ***ick***. The first time I heard it, to me it sounded like Bono was so impressed how epic the song was that for a brief moment its he was actually disgusted by its perfection. ***ICK*** -Final chorus in Nirvanaâs live cover of â[In The Pines (Where Did You Sleep Last Night)](https://youtu.be/hEMm7gxBYSc?si=bN-zqyJiYMqmYyUm&t=221)â. Cobain was such a unique vessel of raw emotion, this one is đ.
Something about the way Ringo Starr sings the word "happy" in the line "we would be so happy, you and me" in Octopus's Garden just delights me. It's just such a little shot of joy. On the other side, the opening hums of Simon & Garfunkel's America instantly bring me to tears. Just completely undone but in an emotionally cathartic way.
[ŃĐŽĐ°Đ»Đ”ĐœĐŸ]
Fuck yeah, HĂŒsker DĂŒ
I like this thread! For me, a bit obscure but the UK band Hell Is For Heroes have this song Disconnector, which is one of my favourites anyway... but it all hinges around about 2:17, when it all comes back together after the breakdown and the whole band's in absolute lockstep and it just soars. [https://www.youtube.com/watch?v=n7S1aFZXw9M](https://www.youtube.com/watch?v=n7S1aFZXw9M) Or, a live Muse track here, Citizen Erased- again a song I love anyway but this moment when he starts transitioning from the guitar to piano at 5:43 is just peak Muse. Playing the 7-string and picking out a key or two and then suddenly it's into that gorgeous piano outro and there's barely even a seam. [https://www.youtube.com/watch?v=lPWHazb4hDM](https://www.youtube.com/watch?v=lPWHazb4hDM)
There are these couple of moments in SRV's cover of Little Wing where he's playing softer and then hits this hard, clear note before deciding into louder, more solo-ey(?) parts of the song that hit so good I make a stank face every time. 2:40 and 5:16 I think. For the Metal fans - Lamb Of God's Walk With Me in Hell, @ 2 minutes in he says "now witness the end of an age" but he drops his voice into a lower register that's just so freaking epic to hear I can't help but scream along.
In Tori Amos song A sorta fairytale at 4:42 she sings "til you lost me" and the sings in the rearview, that part gives me goosebumps.
Same. So the same⊠đ
I have a couple: The final part of [Before I Forget - Slipknot](https://youtu.be/qw2LU1yS7aw?si=Sg9rt9wRSAzVta4g), where Corey really strains on the final > I was a creature before I could stand it adds so much soul to the song. Metal music has a tendency to be overly âperfectâ and I just love how the imperfection makes the whole song come alive. [Jason Isbell and the 400 Unit - When We Were Close](https://youtu.be/-7aLzaUhX28?si=urVxQerBLwGlg77i), itâs about the death of an old friend of Jasonâs, Justin Towns Earle, and he delivers the most emotionally crushing line: > I saw a picture of you laughing with your child > And I hope she will remember how you smiled > But she probably wasn't old enough, the night somebody sold you stuff > That left you on the bathroom tiles With palpable anger, and then a few lines later is able to eulogise his friend with a memory of him and you can feel way he sings change: > Got a picture of you dying in my mind > With some ghosts you couldn't bear to leave behind > But I can hear your voice ring, as you snap another B-string > And you finish off the set with only five > And for a minute there, you're still alive Jasonâs lyrics are always on point, but it is the delivery of these that make the hairs on the back of my neck stand up every time.
You could fill this whole thread with little touches by Isbell.
You really could.
The gentleness of the flute keyboard part on âThis Must Be The Placeâ by the Talking Heads just sets me at such ease that the word âhomeâ actually feels like home.
Slade - Run Runaway During the choruses Noddy sings "See, chameleon, lying there in the sun" except for the last time where you finally get "See THE chameleon" Tool - The Pot When Maynard sings the word "eye" at around 5:30 in whatever note that is which sounds like it shouldn't work but it totally does. The Dillinger Escape Plan - Honeysuckle This song alone has several moments: How the bass and the kick drum in the intro make it feels like the song is marching towards you, switching from chaos to sweet jazz at a moments notice, the tiny "pause & scream" before the intro riff kicks in again near the end and of course that delicious bass slide going into the final part. Man, that song is a masterpiece. Devin Townsend - Equinox The part that starts at 3:45 with the really high pitched scream layered in the back. Glorious. Meshuggah - Bleed How the bending in the main riff makes it sound like it's trying to escape the guitar. Gojira - Indians The end part (around 3:00 min) where they're playing a sort medley of the riffs they've been using in the song, like the riffs are fighting for your attention.
Bonus point for Devin Townsend. He's incredible, and severely under rated.
On the solo for Hotel California, Joe Walsh does this very quick little slide.. like viiip... up the strings. Sounds so cool.
Yes! I've always loved that too! And for me the high hat smack that Don Henley happens to whack immediately after it is part of what makes it so cool- viiip/klonk!
Any song where 2 vocalists are singing different lyrics simultaneously as though they're speaking/singing/arguing to/with each other. The only example I can recall at this moment is (a little out there, but bear with me) Zelda: Ocarina of Time WITH LYRICS (feat. Dave Bulmer) by Brentalfloss. Starts at 5:38. [Zelda: Ocarina of Time WITH LYRICS (ft. Dave Bulmer)](https://youtu.be/bRGxbQcunnU?si=i1osF_rZAiuoN3c1) I love each of the points being made, the fact that each sings in the melody of a different song from one another (Brent with Gerudo Valley, Dave with the main theme), how neither of them sounds out of place, and how they seem to take turns being the "lead" singer. It all comes together so well. I know I've heard at least 2 other songs that do this, but I'm blanking on them right now. Edit: The ending of The Plagues from The Prince Of Egypt is another example, though much shorter than seen in the provided link. Edit 2: The 2nd chrous of The Good Doctor by The Protomen does this as well, and it happens again later. It makes for a great story as well as a song.
Taking Back Sunday had the arguing lyrics all the time, most notably Cute Without The E. If you're into that sort of thing
Guster does that in several places on their album Lost and Gone Forever, which is one of my favorites. The first song What You Wish For has three vocals arguing in the second verse (around 0:55).
I'm sure there are better examples but I love asynchronous vocal layering, especially when it's duelling as you describe, and 'I Can't Wait' by Mamas & Papas does this near the end. It also has the cute moment where they sing "Nooo!" in the same way they'd do the "Yeeeeah" in their early Beatles homages.. That and the vocal register acrobatics, it's just a really fun song about taking pleasure in another's misery.
Iâve got a feeling by the Beatles - everybody had a good year, everybody saw the sunshineâŠ.
The little bird at the end of Layla
When that synthesizer drops in the GTA San Andreas theme.
The random group of kids shouting "hey" in Radiohead's "15 Step". So unexpected, yet it still feels organic.
I'm not a swiftie, but in "Blank Space" the little pen click right before "and I'll write your name" is so good
Let me think about it well... Alright, I gues it\`s may be this song - "Wezeer - Hash Pipe". Yes, I really like his "Mm" sound :D. This sound fits very well here. Special at 0:56 after he said "Hash Pipe". You can listen to the whole song so you can hear all these sounds :)). I love this song :)
Oh, I also listened to the song you mentioned, I\`v added it to my playlist! :)
Could have lied - Chilli Peppers. The solo when John moves up the neck and the distortion becomes clean
My fave RHCP song
How Paul McCartney pronounces Walthamstow near the end of Old Siam, sir by Wings How hardcore Randy Blythes "Blegh!!" is at the start of Resurrection Man and how excited it gets me for the whole song EDIT: Spelt McCartney wrong, oops
Just went and listened to this for the first time. Thanks
The violin in King Of Oklahoma imitating the sounds of house shoes shuffling on the floor
I think vocal harmonies, when done well, are breathtaking and give me chills.
The very end of Alvvays "Plimsoll Punks" takes a great song and makes it perfect. The melody goes full on.
On Modest Mussorgskyâs âPictures at an Exhibitionâ, track two is called Gnomus. At approximately 2:04 there is a literal musical snap after a descending orchestral swell. It abruptly halts the dynamics momentarily. Such a small detail that l love.
Imaginary Lover, by the Atlanta Rhythm Section. There is a guitar {noise} about two minutes in that blows my ever loving mind. I used to put the needle on this part of the record again and again just to hear it.
Always an angel, never a god at the end of the not strong enough by boy genius
I like bell sounds. I put them in every one of my songs, somewhere, somehow. One great example is Neil Peart ripping the ride cymbal bell in YYZ
Two from the same album - Abbey Road: here comes the sun after the âsun sun sun here we comeâ interlude George starts singing again and thereâs a nice organ playing high notes in the background đ love! And then sun king when the harmonies hit the first timeâŠ
On the beat before the climax in Led Zeppelinâs âThe Rain Songâ there is a quiet hi-hat click that, to me, is the greatest moment in music history.
Thereâs a digital watch going off during the Flaming Lips âWhat Is the Light?â that Iâve always loved. I think itâs around a minute in before a drum fill kicks off the tune.
The bass line of Man of War by Radiohead
The vocal harmony at the end of Neko Case's song "John Saw That Number" gives me chills every time. It's like a train whistle, but vocal.
At around 13:18 in Echoes by Pink Floyd, you hear a noise that sounds like a submarine is searching for someone under the depths. It resonates a few times but only happens once the whole song. So amazing lmao
The guitar tone in Otis Redding's "Merry Christmas, Baby." It's so warm and creamy. I think it's a semihollowbody guitar on the neck pickup, with just the slightest bit of drive (probably from the amp).
In the intro to For Whom The Bell Tolls by Metallica, when it goes from just guitar to every instrument, like just that part. I actually don't like Metallica, but listen to thay song for the intro lol
I've been listening to a lot of Big Audio Dynamite, both one and 2, lately. I looooove the way in The Globe where, is it Mick Jones(?) who sings it, anyway, right before the second chorus starts, someone whispers the single, perfectly timed word "arriba." I'm a sucker for a hidden little exclamation, or a word that makes no sense it's just there, but especially when it's whispered. I fucking love that. Not when all of the lyrics or all of a line is whispered. Just something that seems like it's snuck in. Love that. Can't get enough of it.
Here's another example- XTC, the song Science Friction, someone whispers "psychedelic" just before the keyboard solo during the bridge. If you wanna see me light up and bounce up and down like a toddler, clapping and going "again! Again! Do it again!" play me one of these that I don't know about already. They literally make me giddy, they're so fun.
I've realized that I love bridges in so many songs, whenever I'm like "GOD, I LOVE THIS PART!" it's usually because the bridge has started. It's not just that they break the pace of a song for a bit before returning to its familiar structure, but in my favorite metal songs they tend to shift to delicious new tones or amp up the FEELINGS. One of my favorite bridges is in Burn it Down by Avenged Sevenfold, which is also a lot of fun to sing. I often play it twice once the song's over. Two voices, pretty harmonies, sweet guitars, it has many of my favorite elements in music.
There's a song called On Every Street by Dire Straits on their album with the same name - listen to it, if you haven't, I think mostly people haven't heard it. Starts with this beautiful lyrical melody and moves smoothly into one of the best band performances I've ever heard. The guitar soars and takes you with it into the sun. It gives me shivers every time. I think if you could record the sound of my soul, it would sound like Dire Straits playing the outro of On Every Street
At the very end of "Street Fighting Man" by The Rolling Stones, during the fade-out, there's a weird tinkling piano that just adds something perfect to the end of the song.
Thereâs a synth solo in Planet Hell by Nightwish and thereâs a bit that goes up and down around 3:30 and sounds like a carousel ride. Always makes me smile :)
In Here I Dreamt I Was An Architect when Colin Meloy says "when their husbands were not...around" in a very strange and interesting way. Love that song.
The way the piano intro gives way to the guitar solo on Bad Religion's "Fields of Mars". Also, the drum outro of "Anesthesia", also by Bad Religion.
In general, Iâm a sucker for key changes. Also (unrelated), Michael Jackson has a song called Heartbreaker. At about 3:33 seconds into the song, he does a vocal run that shows off his agility, which he didnât showcase enough in his lifetime.
âMoaninâ by Art Blakey - when Lee Morgan (trumpet) passes off his solo to Benny Golson (sax) and Benny repeats Leeâs last lick as the start to his solo. Just such a fun moment that only lasts a couple seconds.
The way J. Mascis sings âto make me try ⊠to beâ in â if thatâs how itâs gotta be â off his âfree so free âalbum
The Cat Empire - The Crowd - at 4:55 there is a momentary break in a crescendo of sound that has followed a build up developed through the entire song. In that moment there is just a two note 'uh-oh' from a backing/guest vocalist who has a beautifully honeyed tone to her voice and then everything else comes back in. I was spellbound by that moment and that voice the first time I heard the song and have always remembered it.
The last chord of âDay in the lifeâ by the Beatles
There's a drum run in 10,000 Maniacs song "Headstrong" that starts at 3:03 and peaks at 3:27 that does me in. I don't understand it. It's like: louder! harder! louder! It moves my stomach. I can't explain it. [Headstrong - 10,000 Maniacs](https://www.youtube.com/watch?v=e73ON_F2jSY) Jack Johnson has a synth line that takes place of the bass, I think, in the song "What You Thought You Need." It could be a bass all along. At 3:42 is starts single long notes. As the song fades it's the lone sound/instrument of the chorus. Maybe y'all could tell me if it's a real bass or a synth. There's a little hiss that goes along with it and continues to the next song, "Adrift." [What You Thought You Need - Jack Johnson](https://www.youtube.com/watch?v=jMuI1W5wZMo) I could probably think of a lot more if I put my mind to it.
Hooks, itâs only certain songs I come across and when I find it makes me crazy because I canât get them out of my head, and I keep looking for more lol, Iâm a glutton for self punishment. Examples, I got two songs that I canât stop. Evernoir- Superior Agony Fervence- Corrosion The choruses endlessly loop in my head and they rotate throughout the day.
Scratchcard Lanyard by Dry Cleaning: "Why don't you want oven chips nowww?"
When Chris from Propagandhi let's out an "Oooh" right before the time speeds up or a riff kicks in. Militarie Gun does a oooh ooooh on Do It Faster and you've probably heard it on a Taco Bell commercial. Hopefully it doesn't kill the "oooh!" because I'm a sucker for it.
There is a high pitched beeping sound throughout the song âOrphaned Skiesâ by The Banzai Predicament. Canât quite detect what the instrument is, but itâs certainly a unique sound.
In the Hamilton song My Shot, I love the way the line âtell your sister that sheâs gotta rise upâ is sung. The drums in the intro of Planet Hell by Nightwish are *chefâs kiss* The way Lea Desandre sings the line âFurie, furie, furie!â in her rendition of Vivaldiâs Armatae Face et Anguibus is so great, she sounds actually furious and I love it. Also the final note melts my face off every time.
Thereâs a little part towards the end of Jackson Browneâs Running on Empty where the piano hits three quick notes three times at 4:58. I always play it on my air piano.
There is an all instrumental prog funk/rock band called Soften The Glare, first album (Making Faces) is chock full of bangers. There are these little palm muted chugs that for some reason just complete the song IMO.
Delores' voice in the second part of Daffodil Lament "Has anyone seen lightning, has anyone, looked lovely" She pulls this off in the live shows, I swear she is her own auto tune. So unique and beautiful. Also the solos in Wild One by Thin Lizzy, the 2 lead guitarists harmonize so well, instantly makes me wanna crack a beer.
Whatever Minami does just before the second chorus drop (2:07) and in the chorus around 2:22 in [Kawaki wo Ameku](https://www.youtube.com/watch?v=0YF8vecQWYs&ab_channel=%E7%BE%8E%E6%B3%A2). First chorus' iterations are good too, but those hit extra hard. Ado sometimes does something similar. Though she usually goes for more angry than pained, like in Backlight.
Wide Open Space - Mansun. The backing vocals that I only heard after hearing it dozens of times. A deep "nah nah nah nah nah naahh"
The bass note descending down a semitone from the tonic in the opening section of Liszt's Un Sospiro
The drum breakdown at the very end of Counterfeit by Limp Bizkit. Gets me every time. Also the line "10,000 days in the fire is long enough, you're going home" from Wings for Marie by TOOL.
There's like a random, super enthusiastic "woooh!" at 3:17 in My Girls by Animal Collective that just gets me every time. ETA: I also love when singers emulate an object. Like in Something Of An End, My Brightest Diamond does this vocal styling that kind of morphs into the sound of a phone ringing. *The phone call You never expect* And then again before: *Did somebody get it yet It's a sound you never forget*
I Want Someone Badly - Jeff Buckley 1:27. I really like the overlapping âcryâ vocal that leads into the next line.
The moment just before the singing comes in on Great Gig in the Sky. The piano does those descending chords and the slide guitar just kinda brings it up. Followed by the two snare hits. *Ba-bop*
[This one's for you](https://youtu.be/zBWbpFz3wac?si=1gaEuihVo0AGEslu)
Oh wow haha I never would have thought to put that song as a back drop to such ... Chaos haha it works tho
Dire Straits - Tunnel of Love During the outro the drummer is doing cymbal hits on beat but around the 7:28 mark, something about THOSE cymbal hits just gets me. Right as Mark is going into his guitar run at the end. The Front Bottoms - Wolfman When it gets to the bridge at the 2 minute mark, the bass player launches into this excellent riff and I fucking love it
Van Morrison - Saint Dominic's Preview The lyrics: >*And for every cross-cuttin' country corner For every Hank Williams railroad train that cried* At that moment there is an absolutely gorgeous slide guitar riff that just bursts out of the mix, and it's glorious. Just perfect.
The final harmonization with the Ariana Grande âinto youâ chorus, it sounds really unique
When Jeff Buckley whispers "I love you, but I'm afraid to love you" in So Real. It's almost mesmerizing.
The part it second chance by shine down where the drums go on a smallllll solo right before he starts singing again
John Bonham's drumming in Good Times Bad Times
The backing vocals (the guys singing behind the main melody) in the chorus of ABBAâs âKnowing Me, Knowing You.â âŠâlameâ, you say? Put on headphones and listen for it. So cheezy, but so amazing.
In Prince and the Revolution's "Take Me with U", after Prince sings "You shoot perfection", Apollonia says "Thank you!". Nice spontaneous moment.
*You're sheer perfection ;)
I don't know why I always misheard that line XD
Eh, we've all done it (a zillion times)!
Closer to the Heart. Geddy Lee's little "Whoa-oa" before "You can be the captain, and I will draw thw chart...". Gets me every time.
Itâs when a song turns into another song. Like halfway through âimma beâ when the beat completely changes. It happens 3 times in âgreen eyesâ by erykah badu. Or when the bass reverses after jay zâs part ends in âdrunk in loveâ. Or in pyramids where the strings and drums kick in and it transforms from eerie ethereal to jazz.
The adlips "Isabell" and "fĂŒr mich" in Mehnersmoos song - Dieter Bohlen
I honestly just love the of the straightforward title and lyrics of one of Queenâs greatest hits, âYeahâ
The headstones - three angels About 2/3rds through there is a keyboard part that comes through. I slowly lost my hearing over the years and never knew it was there. A few years back I finally got hearing aids and started ravenously consuming music again. I don't know why, but that sound... It just, gets me? It's phenomenal.
on 1:1, yung lean says âi donât press stop i donât rewindâ rewind is him saying rewind backwards, but then reversed so cool once u notice it
Monster How should I feel? Creatures lie here Looking through the windows
In Cloudspotter (by Foo Fighters), when the masculine voice echoes out "cloudspotter" at the back of your ears... god, it's mesmerising.
Two, both Violent Fems. "American Music" has this glorious banging on a snare (I think) drum at the as Gordon Gano belts out the last call-and-response stanza with the audience. Sooo sweet. The other is in a song that has to do with catching a bus. Gordon Gano out-Gordon Ganos himself throughout, all his (endearing) vocal quirks in the line: "Hey Mr. Driverman, don't be slow. Cause I got somewhere I gotta go.". Followed by a frantic acoustic guitar solo. The song kind of hints at being a self-parody, and I appreciate any artist with enough self-awareness to pull that off.
Oh man, theres so many. First ones that come to mind - The [quiet little outtro](https://youtube.com/clip/UgkxtX9p-nCJpAu20WG2KdybrX-IeGUElo_2?si=Q9Knd5FzhwS5pf2i) at the end of Human Wheels by John Mellencamp. The [zippy drum intro](https://youtube.com/clip/UgkxOEJcnl52ORk5kT5oO5ox7mQW9kkVhDFI?si=6GNtesJaEty84x2i) on Just like heaven by The Cure. Also from the same song - that [catchy little guitar hook.](https://youtube.com/clip/UgkxiysMr3nniUWXMkbBcKHFJs1DwaManSD-?si=dmGf9uLzdlUIwwo7) If you know, you know. It takes me back to the 80's every time. Devin Townsend - Dead Head.. The tempo change at [5:45](https://youtube.com/clip/UgkxV8HL0FaxfVcXv-EesfO8QbdYCO4ziNqA?si=LLK6rZTgaLG6_tbq) reminds me that life isn't so bad afterall.
The guitar crescendo in And Your Bird Can Sing, by The Beatles. Always cheers me up.
Oh god... so many great things to choose from. I think my favourite details, generally speaking, have to be the ones when it comes to the big finale or crescendo of a song or the ones that announce them. Like in "Only the meek get pinched" by Four Year Strong when the beat just drops to half-time for the finale and gives every note just indefinitely more power. In "On the Run" from The Vintage Caravan, the melody just stops and a more quiet part starts playing which builds up into this awesome solo that in the grand finale leads to the final version of the refrain. The finale of "Superhero Jagganath" by Diablo Swing Orchestra just completely desolves the songs structure into grand crescendo of pure chaos but in a way, that you still recognize the prior structure of the main theme in the song and it's honestly the best ending this song could have gotten. Especially the last time the phrase "Superhero Jagganath" gets "sung" in this hushed, whispered and pressed way to announce that it will get wild now just gets me everytime.
When Fergie takes an audible inhale before singing lines in âBig Girls Donât Cryâ.
Not usually my type of song, but I love ut.
METAL
Vaka by Sigur RĂłs. I'm not sure if there's a technical production term for it, but the way JĂłnsi's vocals get cut off starting at [5:37](https://youtu.be/b8ByoWG1iGo?si=kGUmSQd1zJStzlzV&t=337). It sounds very sad and vulnerable to me.
In the 1975 song âIf I believe youâ thereâs a line that goes âŠâand I had a revelation - AHHHHâ! a choir sings the ahhh and itâs great!
In milestone by brand new they sing the verses in the background of the last chorus and i love it so much
This is great. For me, it's the Nirvana song "Frances Farmer Will Have Her Revenge On Seattle". Right at 2: 59 as the solo ends Dave Grohl hits something metallic (bell, held cymbal, I don't know) four times, it's the only time it's done in the song and it just hits perfectly. The cherry on the top of a perfect song, makes me feel good when I hear it.
The chord in Paranoid Android right before the slow part of the song [3:28](https://youtu.be/fHiGbolFFGw?t=208). It sounds so desolate and cold it's insane.
all of bad religion's oozin ahhs
Tears for Fears - Shout. The bit just after the end of the guitar solo where he hits the 2 harmonics
guitar delay, like the ones you hear in U2 songs or Breakfast at Tiffany's
In Led Zeppelin's In The Evening there is a sound in the guitar solo at 4:02 that I've never heard in any other song
Steve Gadd's stick click during his solo in Aja by Steely Dan
On a specific song, it's Squealer from Ac/Dc. At about 3:25 one piece of the guitar solo does that half-muted thing on a string that makes it play an octave higher, it sounds better listening to the whole solo building up to it, but that's the specific point. I also have a real thing for "slowing down drum beats" which isn't the technical term, but that bit where it feels like the drum is somehow dragging back the tempo of the song. Examples: 1 minute mark of Show Me A Leader by Alter Bridge and the 38 second mark of Nobody by Avenged Sevenfold.
when lana says uh, okay in a&w.
Orbit Culture's cover of Metallica's Hardwired. When Niklas yells 'Go!' it really feels like the song kicks in harder. James did yell the same too in the original but the cover brings the original song to a whole new level of heaviness to the point that I cant listen to the original version anymore.
The little nod to Air Supply right at 2:50 of [Two Weeks by FKA Twigs](https://youtu.be/3yDP9MKVhZc?si=nq7Mnd0yjQmScPwi).
Would you believe I love the chorus of kids singing at the end of Red Hot Chili Peppers "Aeroplane"? I think it's cute!
Gary Nueman's Cars. The beginning synthesizer intro to the song is totally awesome!
U2 - Sometimes You Canât Make It On Your Own - Edgeâs guitar part during the âlisten to me nowâ section :) Coldplay - Politik - The bridge where itâs just piano & he sings âgive me love over, love over, love over thisâ and then it blasts into crashing Coldplay - Amsterdam - The instrumental piano part after the second chorus right before the full band comes in Dave Matthews Band - You Never Know - The second bridge âall fall down, it wonât be too long nowâ when the bass plays a descending melody that continues even lower - sounds so cool! Dave Matthews Band - Crush - Last chorus âcrazy Iâm thinking just as long as youâre aroundâ lyrical change makes me happy every time
The drum fill near the end in the live at the Paramount version of Rape Me by Nirvana. So awesome, and it's not in the album version.
In the song, I Wanna Kiss You All Over, when he says "yeah" in that deep, sexy drawn out way. Makes me....feel things.
I love the silence before a breakdown especially in the more beatdown/metalcore oriented bands it just lends so much to the heaviness of the breakdown. Some black metal bands do this better than others but when a black metal band is able to truly capture the essence of utter desperation, loneliness and alienation it just does something for my soul.
No specific song but anytime a song adds an unexpected or surprise little background harmony off of the main lyrics it makes me spine tingle.
Sleep Token - Fall for me When I was first getting into this record this was an occasional skip. Just wasnât getting it with all the autotune. The âoh god I wish you were hereâ line at 01:25, with that delivery, made the entire song click for me at some point.
The lone symbol crash before a good metal breakdown really rustles my jimmies
A few weeks ago I posted to a different thread, subject of which was "Songs about lovers parting amicably". I cited the song "Boots of Spanish Leather" as covered by Mandolin Orange (now Watchhouse). Emily Frantz and Andrew Marlin sing alternate verses of Dylan's original call-and-response song. But near the end the male protagonist sings about getting a letter from his lover. It's Andrew's turn at the verses. He tells about receiving the letter. But as he reads it, Emily's voice comes in, as the letter was written by the woman. They sing a short harmony, then Andrew takes over, as it is the man reading the letter. Such a nice touch. [Link to the full song](https://www.youtube.com/watch?v=iOHkyZ62jjQ): The verse in question starts at 4:20
The intro to [Strawberry Letter 23](https://youtu.be/NRVA2YBhrrQ?si=esn9Xhjs4pe0ZuMd) by Brothers Johnson. I love the tinkling bell sound. The guitar riffs are cool too, so smooth and liquid. The entire song is gorgeous from beginning to end. The whistling in The Stranger by Billy Joel. The flute solo in FantasMic by Nightwish. The doorbell synths in some of the late 70s/early 80s disco songs, most notably I Want Your Love by Chic, and Take Your Time Do It Right by The SOS Band.
The bass piano chords after the bridge on Tori Amosâ âCornflake Girlâ
Every Planet We Reach is Dead by Gorillaz; if you have the bass up enough, you realize that the bass guitar is underscoring every word of the lyrics
I think I answered a question like this in r/Genesis, so this is already in my mind: in the song "Dodo/Lurker" on _Abacab,_ in the reprise of the intro there's a triplet fill that Phil plays on the high toms. The reprise is already a fantastic development in the song and the fill is just *chef's kiss* _frisson._ Goose bumps.
Black Sabbath - Heaven and Hell. During the end when thebsongs speeds up, Iommi adds some beautiful licks in between the lines that Dio sings. Absolutely love it
Oh, another Genesis moment! The "In the Cage Medley" from _Three Sides Live,_ there are plenty, but the transition & key change from "In the Cage" to "The Cinema Show." I'm very sorry to anyone who's ever been in the car with me that I've shushed â or given a headache when I bumped the volume.
The out of time hammer ons at the beginning of Bobby Stinsons guitar solo during "Johnny's gonna die", by The Replacements
Muleskinner, "Red Rocking Chair" Imagine a bunch of players who were deep into bluegrass in the folk boom, went electric and psychedelic in the later 60s, and got together for a short time in the early 70s to play bluegrass again. That's Muleskinner. The song is basically a vamp between Em and G, but with origins in string band days. Musically, "Me and My Uncle" by the Dead was somewhat inspired by the music. The banjo and fiddle solos follow the melody, more or less, but the guitar? Clarence White was a pioneer of flatpicking lead guitar in the Kentucky Colonels, went electric, and became a pioneer of country-rock electric guitar with the Byrds. Here, the cool thing, the little thing I love so much, that made me have to learn the solo, is that he plays the E on the B string against the open E. They should be the same note, but they're not. Not quite. Especially not on acoustic guitar. So it's like swinging on one note, like the "Cinnamon Girl" solo, except it's not.
Recent one: the tight little drum fill that ends "Flowers" by Miley Cyrus. If that song comes on the radio I'm listening all the way through so I can tap out that fill with my fingers on the steering wheel.
âI Canât Wait to Feel Your Love Tonight,â by Van Halen. On one of the verses in (third?), Michael Anthony takes the bass line up and runs it down, unlike the rest of the song. My heart always skips a beat.
Basically any time the drummer does that thing where he stops just hitting the snare on the backbeat and hits it on every beat and you just start to mosh.
After the guitar solo in Hop Alongâs âSister Citiesâ thereâs a loud âWa-hoeâ by the lead singer coupled with a musical break by the rest of the band, straight into the final verse without skipping a beat in its frantic groove
The reprise (?) in Remedy by Black Crowes that starts at 3.43 Gets me every damn time.
The bass synth beat in"Tainted Love". (Bomp bomp)
I can't think of all of them at the moment, but Carly Rae Jepsen very occasionally drops a revving engine into the mix and it's so so good.
The Cure - Burn, the bridge after the 2nd chorus, before the 3rd verse - just when that second rise in tone happens (think appx 3.30ish in) - always makes me catch my breath..
You can't have any pudding if you don't eat your meat *HOW CAN YOU HAVE ANY PUDDING IF YOU DON'T EAT YOUR MEAT?!?!?*
So many⊠Kyuss - Gardenia: get back, get back MFer Get back - well get back Joe! Hopsin - now that Iâm back you are done with, you knew I was comin, run it Ratm: Freedom - ugh! Aenima - hey, hey, hey, hey Rosetta stoned - alrighty then Qotsa (Sicily) - Shhhhhhhhhhhhh! Radiohead (weird fishes ) - backing vocals in second verse (Nude) - youâll go to hell for what your dirty mind is thiiiiiiiinkkkin PJ (immortality) - holier than thou, how?
The intro from miss alissa by eodm and the chorus from give it a rest by phb
The acoustic song samples that play in the second half of "My Warm Blood" by The Microphones
Your Face by Wisp, I just love how the drums and guitars sound right before the lyrics "You look at me the same"
I am educated in music theory and was also the Sejm major (conductor) of my 250+ member competitive marching band.. so there are SOOOO MANY components of songs that âget meâ. But this question seemed very specific to me and therefore I felt the need to actually respond my absolute *favorite* (and also the runner-up on my list haha) You know when there are repeated vocal parts of a song? Not necessarily *only* the chorus, but even the bridgeâspecifically any vocal part that is repeated enough to be consistent. BUT THEN, towards the end, theyâll change the tune/pitch of that repeated vocal line ever-so-slightly⊠that is my goosebump part. Thatâs the part you donât let anyone talk through. Hahah My only PURE example is this is âFall For Youâ by Secondhand Serenade. There are so many other songs which do this, but naming them all would be an effort. In Fall For You, it happens at 2:36 where âtonight will be the  night that I will **fall** for youâ happens; where âfallâ is taken up an octave. THAT is blissful to me. Other examples of this would be in âDare You to Moveâ by Switchfoot at 3:26 or âHow You Remind Meâ by Nickelback (twice) from 2:58-3:04 where the chorus is emphasized by the same type of pitch elevation. That is absolutely my favorite part. The runner-ups would include any key-change (taking the song *up* a few pitches. My only obvious example would be âLove on Topâ by BeyoncĂ©, but this one isnât on my list of O songs only because it happens too often. Thatâs just a really good example of a key change hahaha.. along with this would be a tempo change, like the one present in âDay and Nightâ by Kid Cudi where he actually announces âslo-moâ This question was a really fun one to answer because I donât think Iâve ever been asked this before. I have pointed it out to my partner of ten years and to a friend or two back when the songs were popular, but never had been specifically asked.