Miniscule moments of extreme musical brilliance!

[Dave the bass]

This might be interesting...Howsabout sharing with others your fave tiny moments WITHIN songs/movements and explain why they appeal so much to you the listener?

Posting Rules. (!)

Firstly, If you post you must point to the exact moment in mins and seconds (via YouTube or equiv) that you're in adoration over.

Secondly, You must also explain why that tiny section of the music appeals to you in such a deep way, whatever it is.

Thirdly, there is no thirdly*.

I'll kick off with a few.

(*copyright Ivimey Joke dept. 2006)


[

Indentifier = @1.10 to 1.12, that drum roll that leads to the key change + 1st guitar solo.

Reason = Its just sheer bluddy brilliant! Up to that point Frank has been chuggling along just fine... but they need a lift in the song to launch the 1st of Billy's solo's. Frank steps in and the boys drop out only to launch back in seconds later with renewed vigor.




Indentifier = 1.45.to 2.06, the voicing and phrasing in that horn section riff.

Reason = It just sounds like a section that is bursting with joy. I picture happy people waving their hands with palms facing upwards in sheer elation as the horns slide into gear at 1.45 and repeat that phrase again and again. Smashin'.



Identifier = 0.46. The phrasing of the word 'voltage'.

Reason = Still to this day its the only correct way to say the word 'voltage' !



Identifier = 5.19 to 5.28 Steve's guitar phrasing coming out that solo.

Reason = I think it's one of the most brilliant cue's in musical history. At 5.19 he's sounds like he's increasing 'noteular' pressure in a mahoosive pressure cooker (the band) building up to maximum pressure at 5.23 then 2 quick slides and kerrrrrrrrrrrrrrrpoweee....he releases Daevid Allen at 5.26 who spurts forth with lyrical enlightenment viz a viz Temple Building... sheer brilliance again (IMHO).

I've got loads more.

Someone else have a go.

DTB

[Cressy Snr]

OK Mr Bass I'll bite

This Roxy music from 1974 is their best single ever. IMO they never topped it, maybe Love is the Drug came close but it got over played and even now it is a bit too familiar.

At 1.33 Phil Manzanera, kicks his guitar solo up a gear, and lets his Rickenbacker rip. it is not flash, but supremely effective; sheer spine tingling pleasure..perfection.

[Nick]

Cool idea. Ok first one, I have wittered about to anyone who will listen before, as its the greatest 20 seconds of anything in my opinion.

Ok, two in one, at 9:10 after 9 minutes of glorious freaky sounds the bass kicks in with and grounds the sound, then moves up then drops down, suddenly stating a rhythmic structure that just feels right, but wasn't there 10 seconds ago. And THEN into that rhythmic space 13 seconds later hendrix places the most glorious blues guitar sound there ever was (IMHO), its just painfully perfect, and then by 9:40 after a few moments of wonder its gone like the sun dropping below the horizon.




Next one, Pat Metheny with one of his signature guitar synth solos with a flugal horn impersonation, a ever risign sequences of climaxs and you can't help but wonder how he is going to finish and at 6:58 h does with a blues quote from left field. I can't imagine a better way of ending, not much else would live up to whats come before.



Good topic Dave, I can see myself coming back to this as I remember things

[The Stratmangler]

2minutes 39 seconds.
Blackmore kicks in - he's had a disagreement with someone, and he's pissed off.
The tension and aggression is very real, and it tails off once vented.

[Dave the bass]

Brillyant stuff, one and all. Ta for sharing. It's intersting hearing on what each of us pick up on.

Next batch...



Identifier = about 1.12.

Reason = Sheer brute force. 1.12... enter the vitriolic lyrics from Mr Hetfield (aka Hatefilled!) burst forth regarding his early upbringing, not 'nice' at all, just brutally honest. To add to all this mess and hate Lars (drummer) underpins it all with a barrage (yes, thats the word) of manic double bass drum onslaughtery. Aaaarrrrrrggghhhhhh + Grrrrrrrrrrrrrrr personified (IMHO). Its also possibly one of the worst recorded and/or mixed albums in rock history (IMHO) but thats for another thread.



Identifier = 0.09 to about 0.31.

Reason= What a way to start a song. But thats not 'it'. Listen to what the hi hat and the kick drum are doing and the ace way it's pumped upfront and accentuated by the scratchy ryhtym guitar playing. Just a mix of brill ingredients to pull you in to a groovy place before McRea comes in with his sad tale.



Identifier = 0.12 up to about 0.41.

Reason = The intro is a nice grooving R+B sound, fairly typical of it's era and genre but then at 0.12 theres a little pause and nice chordal bend going on before the sound launches into the 1st verse.... but.... wait a minute.....What the bluddy crikey blummen earth is going on with that bass sound? Its like a 10 Ton Mega Elephant (with Bronchial Pneumonia natch) wading through slow setting epoxy resin on a hot day. I love it.



Identifier = 0.31

Reason = Forget the fact its a great song from the disco era that just so happens to start with a bass solo and has de-riguer 4 to the floor drum parts ... its the rythym guitar phrasing and 'accuracy' under the microscope here. Listen to that tiny slide and ultra clean pickin' underpinning the main motiff (ooo get me) and once it's done it that it finally condicends to play a chord after each underpin section "doodle-oo" <pause> "Doodle-oo". It knows when to shurrup and lets the song breathe but still be ultra effective. Class. Brill musicianship (IMHO).

DTB

[floppybootstomp]

Hmm, I have a million of dem moments so why can't I think of any atm?

Ok, this may qualify, to me it's one of those songs that if you're driving make you do 100mph, kinda like The Doors' LA Woman. Bloc party's Positive Tension featuring the only cuss word on the album and it's that moment, around 3:00 to 3:30, that usually makes me jump out of my seat, punch the air and adapt a big cheesy stupid smile. Which can be awkward if I'm driving. Two vids, studio version and the Glastonbury '07 live version where I was about 150 metres in front of the stage just to the right as viewed from stage. What you can't see is my feet buried 6" in mud.

Anyhow, for me this a musical moment that never fails to please

[shane]

Going in a slightly different direction, 02:50 - 03:38 is a favourite spine-tingler (it's actually about 10 minutes in but this vid is chopped in half). Almost spooky from 03:07.

[shane]

And again, just because I like things that make the back of my neck go funny, 03:34 - 03:59 of this

[Dave the bass]

Keep shippin' em in please.

Here's more of mine.



Identifier = 1.39

Reason = Now then, stop sniggering at the back, right, bubblegum pop but what a song +production (IMHO). Its the swooping 'bollywood-esque' string section part we need to focus on. All through the song that sample get's played at various times but at 1.39 its a variation on the theme but only doesn't it once in the whole song., Pricks up my ears and catches me out every time.



Identifier = 6.23 to 6.30

Reason = Just awethumne. Nothing else needs to be said!



Identifier = 2.10 to 2.40

Reason = Awwwww.....that ruff Boss OC2 octaver vibrato sound on the bass. Killer sound. Average song mind (IMO).



Identifier = 1.00 to about 1.00!

Reason = That single horn stab. Its the placement of it in Waynes solo that catches me out and makes me smile every bluddy time I hear it (which must be about 47 kazillion-ish).



Identifier = 5.05 to 5.11

Reason = The way Mr Calvert says 'we've got 2 cars in the garrraaaaajhe.....2 cars in the garraaaajhe...'. Cutting commentary.



Identifier = 1.58 to 2.26

Reason = The structure of this guitar solo. Its brilliant (IMHO). Starts off minimal, ends in a homage to Hillage!

[shane]

Another Beethoven moment, this time from the fourth out of five movements of the sixth symphony and it makes me giggle every time. At 02:23 to 02:27 Ludwig bungs in a piccolo right at the height of the storm just to put the final nuance to his portrayal of the wind screaming through the treetops. It's only there for three seconds, and it's the only appearance of the piccolo in the entire symphony. I have this image of the piccolo player (piccolist? piccolatier?) drumming his fingers on his music stand through the first three and a half movements, blowing his heart out for three seconds, then shoving his piccolo in his top pocket and nipping off to the bar to get the first round in while the rest of the boys and girls are blowing out the storm and rounding off the Shepherd's Hymn.

[Dave the bass]

Wwoooaaarrrr! Thats high! Poor Mr/Mrs Piccylow player.

Is the conductor 'lost' at 3.11?



Identifier = 3.57 to 4.02

Reason = Has falling in a black pit of burning hell ever sounded as bad as this...?!

DTB

[shane]

Is the conductor 'lost' at 3.11?

No, he's distracted. He's just found the note he meant to pass to the piccolo player asking for a bag of oven roast peanuts with his vodka and coke.

[shane]

OK, I know everyone on the planet knows this one (except maybe Phil), but it was my first this-is-so-good-I'm-not-sure-I-can-cope-with-it guitar moment. 04:03 onwards:

[shane]

Reason = Now then, stop sniggering at the back, right, bubblegum pop but what a song +production (IMHO). Its the swooping 'bollywood-esque' string section part we need to focus on. All through the song that sample get's played at various times but at 1.39 its a variation on the theme but only doesn't it once in the whole song., Pricks up my ears and catches me out every time.

Isn't it the same one but backwards?

[shane]

Identifier = 1.58 to 2.26

Reason = The structure of this guitar solo. Its brilliant (IMHO). Starts off minimal, ends in a homage to Hillage!

Thanks. That last phrase has been in the back of my head for the last 20+ years, and until now I haven't been able to remember where it came from.