I have clear memories of watching 10cc’s Deceptive Bends album spin on my old AR turntable, and once I listened to the long, amazing “Feel The Benefit”, I found myself singing one of the bridges: “You can ride with the Gauchos…” But it’d be a pain to find that spot by trial and error.
But it was on vinyl! So I could just look at the disk and see the band where the groove got darker as it changed volume and rhythm. Let’s see you do that with your Ogg Vorbis files (straight from the studio’s soundboard, of course).
Here’s the bridge, but the whole 12 minutes is wonderful, especially “Part 3” where the guitar solos and the ending are excellent.
Unfortunate discourse lesson learned/confirmed: simply - do not edit, or you’ll lose your post to that eternaly annoying “can’t embed media in posts” blooper, forcing you to copy your post and try to paste it later when discourse is behaving again.
Mentioning 10CC brings up a moment for me. In “Somebody’s Sleeping In My Bed,” there’s a moment at the end of the rather strange bridge where the guitar resumes and the horns really kick in. Very sweet.
Second (for lack of a better word) percussionist Jamie Muir was a big influence on Bill Bruford, who much appreciated all that he picked up from the crazed, chain-swinging-fur-vest-wearing-at-gigs future monk, and his smorgasboard of percussive gadgets.
Here’s a hopefully skip/jump-free “Easy Money” version
[quote=“Guest-starring_Id, post:286, topic:831368”]A soft nuclear expolsion from King Crimson in “Easy Money”
ETA:
and really - whatever the hell this skittery thing zinging along might be: [/quote]
That earlier post didn’t have the videos cued for their respective “bits” (for the song which happens to be at the top of this post), and it’s a longish number, so, the first is at 2:27 and the second at 5:12
Ringo’s opening hi-hat at the end of several measures throughout Sexy Sadie, but in particular, during the fade-out, cued here, where his hi-hat openings (accompanied with a sharp kick each time) have an abruptness that gives the beat a “halting” feel.
The keyboards (B3?) in “Guitar…Weeps” and “Long, Long, Long” sound like they were run through Leslie speakers, which seem to have this almost visceral “grind” to them that provides a feverish, gnarly wash to those numbers (and I’m sure others as well, but those two standout to me).
Bumping this after four years (occasioned by Robbie Robertson’s death).
In King Harvest (Has Surely Come) I always wait for the Robbie’s little harmonizing lick that goes with “Corn in the fields, and listen to the rice when the wind blows cross the water”. About at the 2:42 mark in this video. King Harvest
Went on a road trip and remembered this one. The Reba McEntire version of Cathy’s Clown is an all around superb song, but when she comes in after the break with a pitch change and finally offers her full-throated confession:
In the very the last two seconds of Juke Box Hero by Foreigner, eight notes are played in very quick succession by the guitarist. It’s my favorite part of the song. (The link is for the last ten seconds of the song.)
How true is the item about the New Years Eve concert they played without any original members? Jones was the only OM left and he had a previous engagement, so they got another lead guitarist for the night.
The point (4:47) in The Damned’s Street of Dreams where a guitar solo is getting really excited and increasing in pitch and then the role goes almost imperceptibly to a saxophone, which renders even greater tension and excitement to the interlude. I had heard the song a hundred times before I noticed that.
This is a little too big an element for the theme of the thread, but it came to mind:
I like when Lou Reed says, “And the colored girls go doot-doo-doot…” in “Walk on the Wild Side” before the backup singers actually come in. Nowadays that phrasing would probably be a controversy, but I think it fits the narrator of the song.
That song is full of weird cool little things, lyrical and instrumental.
I really like in Cheeseburger in Paradise the bridge or whatever its called that starts with “I like mine with lettuce and tomato, heinz 57 and french fried potato” Not how I like my burger but that just is a must sing for me.
and his smorgasboard of percussive gadgets.
