In Santanas cover of “She’s Not There” he is trading riffs with the various percussionists. In one, he does this quick Cat-Scream with the guitar that makes me go “yeah!”
I came here to post exactly that! Something about it … I just have to join in.
Sting, Fortress Around Your Heart: I love the chromatic changes going from verse to chorus, “walking on the mines I’ve laid AND IF I built a fortress…”
I’m willing to sit through all 14 minutes of Peter Frampton’s “Do You Feel Like We Do?” just for the breakdown, into the guitar solo.
Forgot to mention about “Gimme Shelter” - there’s a very definitive piano note that, for me, totally sets the grave tone of the song, and is exactly at :33, then :37, then :41
In the Beatles Piggies, one of the porcine little buggers gets musical with a two-note contribution at 1:30
In Old Brown Shoe - how the piano keeps pushing the beat along (playing “ahead”, almost?) And a lot of the bass work - in the middle of the verses (“For you sweet top lip I’m in the queue / Baby, I’m in love with you”), and speedily bouncing along during the refrains (“If I grow up I’ll be a singer”) - darned amazing.
In Janis’s “Take Another Little Piece of My Heart”, that sliding guitar riff right after “Take it!”
Yes - The Fish - wobbly bass slide, which I think was more of a studio gimmick, part of which involved waving the long guitar cable around like a skipping rope.
At 4:05…4:15…4:27…
In “You Never Give Me Your Money”, one of my favourite bass passages - Paul amblng away from 1:08 to 1:32 and the groovy guitars from 2:30 to 2:38
In “Hey Bulldog” - the sly, ultra-funky little guitar lick played at 0:46 and at 1:46, as well as someone’s cool “yup” after the “Big man” lyric at1:33
Two songs come immediately to mind, more for lyrical reasons than instrumental:
In The Wreck of the Edmund Fitzgerald, Mr. Lightfoot asks, “Does anyone know where the love of God goes, when the waves turn the minutes to hours?”
In Dire Strait’s Industrial Disease, Mark Knopfler opines, “Two men say they’re Jesus; one of them must be wrong…” Just the deadpan way he delivers the line. Cracks me up just thinking about it and typing it out here.
Prince’s When Dove’s Cry: When he sings “Touch if you will my stomach, Feel how it trembles inside” his little moaning grumble that follows in the background around 1:57.
Bruce Springsteen/Patti Smith’s Because the Night sung by Natalie Merchant (MTV Unplugged Version): When she sings “Take Me Now, Take *Me *Now” on the second “Me” her accented yearning pleading around 2:32.
Cyndi Lauper’s The Goonies ‘r’ Good Enough: The Phil Collin’s/In the Air Tonite Drum solo starting at 5:09. What a fun video from the Goonies. Sean Astin just a baby. I miss the 80s.
Right at the end of Jimmy’s how-is-that-even-possible?!? speed-run solo on “Heartbreaker,” there’s that one accidental pull-off (or maybe “accidental flick-off”?) at 2:43. Nice to know he’s human after all.
I have dozens of small bits I like, in classical / orchestral music. I just can’t describe them in words, this is really difficult.
I might find time indexes in youtube videos of the pieces. But then, some of my favorite moments are found only in certain recordings of the music, and might be missed / glossed over / or otherwise not captured because of the nature of artistic expression in classical music.
Argh: Once again, classical music just doesn’t fit well in this internet era. (Don’t get me started on the iPod-ization / Amazon-ification of digital music and how it messes things up terribly. Such as, I’m just looking for this one passage from the recording. No, don’t apply fade in/ fade out dynamics for that “song.” Don’t, for the love of god, sort this one CD of a 4-CD opera set differently than the others, mysteriously having it classified by one of the singers rather than Wagner’s Die Walkure, Disc 3. This one CD should be in the “Wagner” bucket like the others, not “Kirsten Flagstad.” Kee-rist.) (Sorry)
