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Old 09-18-2010, 08:03 PM   #21 (permalink)
real emotional trash
 
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i'll join the dinosaur fun



1:40



2:10 or just about the point where elliott starts spinning


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Old 09-18-2010, 09:01 PM   #22 (permalink)
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As if when it transitions to drums and bass along with the guitar in the beginning wasn't awesome enough, at 1:46 when it segues into 2:07 where the real sludgy guitar starts kicking in is tremendous.


1:16 is when it all starts when ASM let the "Tra-la-la Chorus" part of their name kick in. That leads to 1:35 when of the best parts of any song begins. As it evolves the vocals, drums and strings just mesh together wonderfully. This version is, unfortunately, edited due to Youtube's time constraints, so try to find the original somewhere if you like this because it's somehow even better.


Goes from a kickin' guitar riff and drums to awesome synth at :24, then tosses in the claps at :40, then at :46 the drums pull off the awesome and right after that the best use of whatever-the-hell instrument that is in any song ever. Also see ~2:55 where it heads into the echo section.


If you don't love 1:33 and later faint from pleasure when 2:48 rolls around, then you don't know sh‎it about music.


I want to have sex with :52 onward.


1:33 was the first guitar solo I actually tried to learn even though I've never actually actually played guitar.


Sometimes I wonder how I lived before I knew about :08.


Pure genius in a physical form is 3:32.
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Old 09-18-2010, 09:12 PM   #23 (permalink)
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Wurm, the final third of Yes' Starship Trooper is incredibly epic:



When deez' bitches get all up on they dang ol' trampolines n' shit.
Seriously though, the guarantee that at least 2/3rds of your audience will be on hallucinogenic drugs gives you so many opportunies to blow their minds apart, like in the last 2 minutes or so of this song.


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Old 09-18-2010, 11:02 PM   #24 (permalink)
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This entire song is one gigantic slap across the face, but the way the horns at 5:33 start crying out, flaring maniacally makes my jaw drop.
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Old 09-19-2010, 09:19 AM   #25 (permalink)
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In 1963 Patsy Cline went onto the studio to record a cover of the Bob Wills tune "Faded Love". That morning Patsy and her husband had a huge argument before she left, this could be the end of the relationship.

When Patsy was in the studio recording the producers could tell she was in an emotional state and it would be a good time to try and capture the emotion on tape by recording "Faded Love", about half way through the recording she realizes that her husband wasn't going to come after her and apologize this time and that she is living out the song as she sings it and at the 3:33 mark as she takes that last quivering breath to hit that last note, you hear the actual sound of a heart breaking.

Little did Patsy know that her husband had come to apologize and that the producers had locked him out as to not interfere with the magic that was happening in the studio. It turned out to be the last recording session for Patsy Cline, a month later she died in a plane crash.

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Old 09-19-2010, 10:04 AM   #26 (permalink)
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In Don McLean's "American Pie" - the whole song is fantastic, but the part that always gets me and gives me really intense chills is:

"I met a girl who sang the blues, and I asked for some happy news, but she just smiled and turned away."

For the record, I know that it's believed that line is referencing Janis Joplin, but that's not why that line gives me chills, I'm pretty sure.

American Pie - Don McLean
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Old 10-15-2010, 11:24 PM   #27 (permalink)
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Ash used Revive!

In Fleetwood Mac's "The Chain", the bass solo that kicks in around 3:00 absolutely gives me chills. Then it morphs into a sick guitar solo, but the preceding bass really makes the whole song.

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Old 10-16-2010, 11:09 PM   #28 (permalink)
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the solo at 1:03 is pretty epic in daft punk's areodynamic and the spoken word part at 3:03 always gets me in afi's kiss and control
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Old 10-16-2010, 11:20 PM   #29 (permalink)
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I can't believe nobody's mentioned it yet, but

3:19

I'm also quite partial to 2:32 in this song:
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Old 10-20-2010, 06:56 PM   #30 (permalink)
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Go to 3:58; in about two seconds the tempo shifts into the second part of the song.

The first half of this song is great in its own right, with some the most addictive lyrical refrains on the market ("LOTS OF NAKED GERMANS WHERE AT LAST WE USED TO CRY!"), but the second half ups the tempo and reaches for the stars. Over a period of four-ish minutes, Faust essentially took an addictive synth/guitar riff combo and kept adding static/instrumentation/addictiveness to it, making the repetition only become MORE enticing as it goes on. When it finally ends, you're bound to wish it hadn't.
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