Lose Yourself - Eminem
It starts out melodiously, then changes over to the driving rap beat. Man I love that song.
Lose Yourself - Eminem
It starts out melodiously, then changes over to the driving rap beat. Man I love that song.
[QUOTE=Biffy the Elephant Shrew]
The Who: “A Quick One While He’s Away”
[QUOTE]
Not to mention “Quick One”'s precursor, "Rael."
Howzabout Helter Skelter? The song suddenly dissipates into white noise and feedback, then comes back, fades out, fades back in, fades back out, fades back in then Ringo yells. I love that fade-in, fade-out stuff; don’t you wonder what the look was on George Martin’s face when the band asked him to do that?
GM: You want to do what?
JL: We fade it out…then fade it back in!
GM: Won’t that confuse the listener, not to mention the deejays?
PM: That’s the bloody point, Georgie.
JL: We want to expand people’s ideas about music, and studio engineering.
GM: Get out of my house.
Suppose They Close the Door from Sloan’s Navy Blues switches back and forth between two entirely different songs, several times.
Chris Murphy said in an interview that it was two different songs, and was never intended to be one song until the final cut of the album. They had two songs that just weren’t working on their own, so they spliced them together.
[sub]In another thread, I just made a post about “Money City Maniacs.” What are the chances of two songs from Navy Blues appearing in Cafe Society withing the space of five minutes?[/sub]
Another song that changes gears dramatically: “Rush” by Big Audio Dynamite II. About halfway through the song everything’s cut off by a plummy English voice wondering “Hmmm…I wish I could sing like that. It’s not everything, though, all they want these days is rhythm and melody, rhythm and melody…” Followed by a bass and drum segment, which eventually segues back into the main body of the song again. Really strange, especially for something which was B.A.D.'s only hit (apart from the sublime “E=MC[sup]2[/sup] (The Einstein Groove Equation)”).
An antidote to these songs–“Dumb Dumb Dumb” by Teenage Fanclub. Norman Blake’s answer to the question “Can you write a song with only one chord change?”
Paul McCartney & Wings’ Live and Let Die is a massively schizophrenic song, going from a schmaltzy love tune to brassy menacing jazz to bouncy pseudo-island rhythms.
Love is Like Oxygen by Sweet
Hard for Me to Say I’m Sorry by Chicago
Who’s Behind the Door? by Zebra
Soundgarden’s “Rusty Cage” starts out with a spare, high guitar buzz for a few bars, then shifts into a fast crunch for most of the song until the end, where it falls into a slow rumble.
Black Sabbath is early metal. Queen is not.
Only The Strong by Midnight Oil
Now here’s one that I bet not a lot of people thought of…
Firth of Fifth from Selling England by the Pound, by Genesis. Starts out with an amazing piano intro (Tony Banks deserves to be more famous than he is, in my humble opinion) that races through a variety of different meters and rhythms, morphs into a slow power rock ballad-type thing, moves into an instrumental bit, drops into a synthesizer version of that same intro, then a huge Steve Hackett guitar solo in the same vein as the ballad-type section.
wah. I wish I could play the keyboards like that…