Ha! Faith No More’s cover has ruined me for the Commodores’ original. When Lionel Richie gives his version of the “Oooh!” just before the guitar solo/bridge, I crack up every time from memory of Mike Patton’s “ewww!”
Today I heard the Beatles “She Loves You” for the first time in years. When John and Paul ssing “Whoo” at the end of the second chorus, suddenly I was a young girl again, watching them on the Ed Sullivan for the first time, seeing them lean into the microphone and shake their “long” hair.
That song rocks and the “Whoo” is amazing.
Jethro Tull - Mother Goose is stuffed full of tasty acoustic guitar fills and scale walks. I especially love the walk-down at around 2:19 before the electric guitar comes in.
Yeah, that’s a good one. About the cutest thing I’ve ever seen was my niece, when she was around 10 years old, and her little friend react in unison to that part. They were lying on the floor reading books as the song played in the background, and they did their little woos without looking up or anything. I just about bust a gut trying not to laugh until the end of the song.
The sax solo on Pink Floyd’s Dogs of War.
The ending of 1985 by Wings, since I feel sure he was just beating the hell out of that piano.
Naked Eye by The Who: We’re not pawns in a game, we’re not tools of bigger men…
Tea and Theater by The Who: A thousand songs still smolder now, we played them as one, we’re older now…
I think I found the part you mean. At 2:43, the drummer (Gilson Lavis) hits a cymbal for the first time for 1 beat. He hits it a few more times. Then starting at 3:07 (when Paul Carrack sings “oo-oh”), for the rest of the song he hits it on the first beat of every other measure.
Nomeanso get their mojo on with some ooo-ooo-ooo-ooo’s @ 0:38 here and a good solid UH! @ 2:59 there.
Impressive how this 45-second AxCx number, alone, has three near-miraculous things in it: firstly - it’s the only song, ever, that didn’t start until after three series of counting-in stick clicks. Then, @ exactly 13:49, is the most shredding ascending guitar riff, and finally, Seth’s triumphantly flatulent “UUUUURRRRRRRRRRR” right into a ride cymbal ‘ting’ @ 14:02.
Tea for the Tillerman by then Cat Stevens is another one of those songs with a nice, gentle intro that builds to a great choral burst. But the song is only a minute long so it’s basically over then.
Stevens’s “Wide World” has that famous descending guitar line, as well as the accompanying call-and-response line on piano.
Yes it’s me again in this thread.
Bob Welch’s “Ebony Eyes” is a frustrating one.
It has the coolest bit with the nifty guitar riff going into the driving bass line thing, despite the other parts of the song having so-ho-ho-ho much suck.
Maybe it’s just me, but that video could be, well, a little effed up, especially fez dude’s Devo moves at the very end. 
Two more I just thought of, by the same band.l:
“Ready Freddy”
And “He’s alright, he’s alright”
George’s segue / lead-in to next verse / whatever you wanna call it in the Beatles’ “Ticket to Ride”.
Just plain proto-grooviness.
Mr. Grubb’s (of Bastro) shockingly subdued “uuuuuuhhhhh” and then right back into’er again.
The way The Cramps’ Lux Interior says “door” in “Green Door”.
PAUL SIMON
STILL CRAZY AFTER ALL THESE YEARS
Stealth modulation!
Modulation is the technical term for when the performer changes the key in the middle of a song. Usually they do it at the beginning of a new verse or section. They also usually make a big fanfare so you will notice it. For example, Janis Joplin modulates before the second verse of Me and Bobby McGee (1:15).
However, in Still Crazy…, Simon modulates at the beginning of the third line of the last verse with no fanfare, starting with the phrase, “Would not be…” (2:50), just 35 seconds before the song ends.
If I ever meet him, one of my first questions will be why he did that bizarre and wonderful thing.
Within a 5-second span - three astronomically tingly little itty-bits, cued up here at 3:00…(no wonder I mentioned in another thread this is the best ex-Beatles tune…mainly, the melodic power of George’s singing in the verses - absolutely sterling notes he’s hitting - galvanizes me):
- honeyed harmonizing female vox on “luuuuuv”
- tasty Harrison-y guitar licks at the end of first two lines.
ARTIST: King Crimson
ALBUM: In the Court of the Crimson King
SONG: The Court of the Crimson King
This song is in 5 sections because the main song is interrupted by 2 instrumental interludes (each with a subtitle). The transition from Section 4 to Section 5 is an incredible drum figure.
PS: Can anybody explain why the song title has one less word than the album title?
Let’s resurrect this lovely thread.
But no: not ‘My Ding-a-Ling’!
Except that: I WAS THERE!
Wiki:…"the version which topped the charts was recorded live during the Lanchester Arts Festival at the Locarno ballroom in Coventry, England, on 3 February 1972, where Berry – backed by the Roy Young Band – topped a bill that also included Slade, George Carlin, Billy Preston and Pink Floyd "
I was outside, standing in the queue (sorry, in the line) outside the Locarno waiting to get in to see Floyd (who came on at about 3am, as I remember). And through the open window above me came “MY Ding-a-Ling…”
Was anybody else on the SDMB there?
And - sorry for the hijack - should I open a new thread “Live recordings: I was there”? or has this been done?
And Floyd were great.
I HATE everything about that f***ing song!
No offense. YMMV. Have a nice day.
Edit: mistaaake!
I also love that bit.
Radiohead’s “Creep” - Run, run, run, ruuuuuuuuuuuun!
The guitar entrance at :21 in Chevelle’s “Family System.” I can’t not start rocking when that drops. And then the little high-hat break. I love that song.
In The Beach Boys’ God Only Knows there is a round at the end. Two of the parts are the same but the third one is slightly different in its melody, matching the horn intro at the beginning of the sound. I like that third part.