Music: the best bits

Corpsey

call me big papa

Bizarre Inc - Playing With Knives

1 minute 33 seconds
in, something like a piano being played bottom to top in a millisecond to cue up someone pulling back the curtains in the squat party and letting in the blinding radiant perfect summer's day sun, the pure high note of ecstatic joy (like dropping a pill on super fast forward), the beautiful joyful melancholy of the piano chords, this is as good as it (life) gets, the mountain-top... And after a short interlude of bliss it's back into the stomping amelodic acid-tinged stuff. (Also a great example of the (near) lyric-less rave vocal, nothing really but emotion here.)

I used to wish this tune was nothing but the soaring ecstacy but I see now that it has to be a brief interlude to really make its maximum impact.
 
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Corpsey

call me big papa

Todd Edwards - Shut The Door

1 minute 28 seconds


I'd consider this the bridge to the chorus (sue me if I'm wrong, howard goodall). There's that amazing intake of breath sound he's created before she sings "I know you don't like what I'm saying" and the strings(?) go up a notch, sounding intricate, seasick and divine all at once.

Again, doesn't hit as hard unless you listen to the bit before it. It's that change in chord structure as well that really stamps this home and makes me feel weepy with joy.
 
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Corpsey

call me big papa
I'm under the weather today is that why I'm listening to Shut The Door literally welling up with tears?
 

mixed_biscuits

_________________________
I like how you've zoomed in on a 3 second bit here. I was concerned that my initial selection might mislead people. A 'bit' can be a second long, it can be 30 seconds long.
I was worried that I had picked too long an extract so that's a relief.
 

Corpsey

call me big papa
A bit can recur (as my selections show) or it can happen just once.

Although I dunno if I would accept a 'bit' that recurred again and again and again throughout a track...

Maybe I would actually. Like a little sound in a loop that makes it brilliant.
 

Corpsey

call me big papa

Tom & Jerry - Maximum Style (1994)

I think I've talked about this on here before. 1 minute 6 seconds in - the barnstorming bass has already kicked in but things go up a notch here with the singer hollering "Baby!" and this subtle but essential "Hey Hey!" baked into the breakbeat. These sounds are like gasoline poured on the fire and I stand atop the flickering flames, drunk with my tie around my head, doing a fifth-rate Charleston.
 

WashYourHands

Well-known member

33 seconds in. The drop leaves a short gap and then a synth of doom floors you. 150% rush face. First heard in a car winding through lanes somewhere round Windsor (might have been Slough or Maidenhead) - 4 lads in Ford cortina going mental, group headbanging in unison. It doesn’t do a lot, but what it does achieve is lift off, pure and simple, just from the most basic track structure. Hardcore with a twinge of 4/4 and one example where the gerbil sped up aspect worked (personally). Or maybe it was the dugs

It took me years to work out the sample was from Stephanie Mills “You’re Puttin a Rush on Me”, going into stores asking over and over if they knew or heard a track with the “your intentions are pure” lyric (clearly a few cunts hiding the magic tricks here). Not nostalgia, but a tune where the moment of exposure hit so hard and that’s coming from a House gimp
 

Benny B

Well-known member
Love playing with knives so much, that was my favourite song aged 10. Has to be the ultimate rave piano riff. Well, that or sweet harmony. Goosebumps all over the shop.
 

WashYourHands

Well-known member
Coil‘s The Gimp. It usually acted as a bridge into Sometimes, except the focus is on its intro, a spiralling, 3-d, time-stretched bass warp. Overwhelming sub/lowest pitch range leading upwards in dizzying scales. That it leads into Sometime’s dark whimsy probably adds to the clout. Rewind after rewind approach to turn it into 30mins of sinister splendour

 
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