Atlantis - Donovan - Long spoken intro, followed by endlessly repeated chorus
Bohemian Rhapsody - Queen - quiet intro, two balladic verses, guitar solo, multitracked operatic verse, hard rock verse, quiet outro
Number 9 - the Beatles - not music according to my 8tlh grade music teacher
Supper’s Ready - Genesis. A 22:54 monster, in seven distinct “movements,” one of which is 9/8 time.
We Don’t Talk About Bruno - Encanto - multiple voices in multiple rhythms in the form of a Madrigal.
The Dance of Eternity - Dream Theater with 108 time signature changes
4’33” - John Cage - Three separate movements, totaling 4 minutes and 33 seconds of … silence.
Don’t Stop Believin’ - Journey - The “chorus” doesn’t come until the end of the song, then repeats into the fade
Audubon – C.W McCall – an autobiographical chronicle, the bulk of the song is delivered in a ‘talking blues’ style over a repetitive rhythm, a sort of precursor to rap
Atlantis - Donovan - Long spoken intro, followed by endlessly repeated chorus
Bohemian Rhapsody - Queen - quiet intro, two balladic verses, guitar solo, multitracked operatic verse, hard rock verse, quiet outro
Number 9 - the Beatles - not music according to my 8tlh grade music teacher
Supper’s Ready - Genesis. A 22:54 monster, in seven distinct “movements,” one of which is 9/8 time.
We Don’t Talk About Bruno - Encanto - multiple voices in multiple rhythms in the form of a Madrigal.
The Dance of Eternity - Dream Theater with 108 time signature changes
4’33” - John Cage - Three separate movements, totaling 4 minutes and 33 seconds of … silence.
Don’t Stop Believin’ - Journey - The “chorus” doesn’t come until the end of the song, then repeats into the fade
Audubon – C.W McCall – an autobiographical chronicle, the bulk of the song is delivered in a ‘talking blues’ style over a repetitive rhythm, a sort of precursor to rap
White Rabbit - Jefferson Airplane - The song does have identifiable sections, but the overall effect is a single, steady, 2.5-minute buildup to a final crescendo. On the tiny-ass chance anyone’s interested, this guy explains how there’s a lot more going on in it than most people probably realize.
Favorite Guitar Solos
David Bowie - Scary Monsters (solo by Robert Fripp)