Small sections in songs that are as good as the song itself

[A Passing Turk Slipper]

What a snappy topic title.
Is it just me who sometimes hears bits in songs and thinks 'a song based around that bit would have probably been better'? Although at the same time I think the reason those little bits are so great is because they are just small sections that are not overused, they just suddenly come out of no where and are almost separate from the song while still fitting in perfectly. I'm not talking about middle eights here, I'm talking about literally 2 second or so long bits in songs that don't follow the proper melody of the song and then normally aren't repeated. For example, the end bit of Fun Fun Fun were Brian Wilson does those lovely oooh's, it goes through once and fades out on the studio version. That is my favourite part of the song, it is just a completely different from the main melody and is great with it. I've heard live versions of it where they carry this bit on for a while but on the studio version I've got they just do it once, and it is lovely. Other examples include the very end bit of Penny Lane, (where the title is sung). I suppose this is a bit of a loose premise for a thread but the subject basically is little bits in songs that are different from the main melody and are great and uplifting.
I bet no one replys to this thread. I don't even know what it's about.

[Lumiere]

Dying Fetus - Kill Your Mother, Rape Your Dog

There's a sickeningly good breakdown in the middle portion which rips off the breakdown in Led Zeppelin's Black Dog.

The Beatles - Happiness Is A Warm Gun

The "I need a fix"/"Mother Superior jump the gun" section is fantastic.

Cannibal Corpse - Hammer Smashed Face

There are some stultifying bass loops, riffs and solos every so often.

[A Passing Turk Slipper]

The Beatles - Happiness Is A Warm Gun

The "I need a fix"/"Mother Superior jump the gun" section is fantastic.

That's just what I am talking about. That I need a fix bit is so great, it fits in so well with the solo straight before.

[bill hicks]

Good thread.

Many times have I listened to a song and really liked just one part of it and been greatly disappointed when the band moves on after only a short time (probably why I like Godspeed and Mogwai so much...if they play something you like, you know they'll hammer it for a good ten minutes afterwards), but one song encapsulates this for me completely: Mapplethorpe Grey by Pig Destroyer.

It's easily one of my favourite songs, mainly because it's not a single flowing piece of music. It's only 1 minute 21 seconds long (I know, I know...fucking Prog Rockers selling out to the man...In my day Grind bands never clocked over 30 seconds...etc.), but it's made up of 4 of the greatest riffs you will ever hear. The opening is just magnificent and makes you want to start killing things instantly....it has TWO of the best fucking breakdowns you will ever hear and when THE RIFF kicks in at 34 seconds you can't help but air guitar the harmonics like a bastard.

I want Scott Hull's babies (but he'd probably call me a wussy fag and beat me up if I told him that. Have you seen the dude? Forearms like a Mastodon's thighs).

[hymen spaz]

Brian Wilson - good vibrations.

The choral breakdown makes me warm everytime i hear it.

there are more but my mind has just decided tio pack in - bed for me.

EDIT: i really should read the first post better - not sure if good vibrations counts now.

[Cambrian Times]

The mid 8 in Common People which sounds like a Britpopped guitared up version of Zorba's dance.

[Neville Chamberlain]

The new Dillinger Escape Plan album, Miss Machine, is chock full of bits where I think "Damn, I wish they'd carry on with that bit instead of going back to being all silly and shouty!". Can't name any specific bits, but there are loads of really cool proggy/jazzy/weird breaks that are just begging to be fleshed out. Actually, the better-than-King Crimson breakdown in the middle of Sugar Coated Sour on their previous album, Calculating Infinity, is a damn fine example of what this band is capable of, not to mention their Mike Patton collaboration Irony Is A Dead Scene, where they laid off the shoutiness to some extent to get down to some real prog action. The second half of When Good Dogs Do Bad Things, for example, is just sublime.

[Spiteface]

There's a bit in "I am One" where it's just the bass, live they'd stretch that out a bit especially during the Machina shows, and Billy would just start ranting complete and utter bullclackers like this nugget:

sometimes you gotta go backwards to go forwards
sometimes you gotta dig up the bones and look at them and say
they don't mean shit.

and then there's:

we are the dream
we speak thusly
we are the mean machines
we are the machines of god

Respect for daring to use the word "thusly"

And another favourite bit of mine is the ending to "You Made Me Realise" by My Bloody Valentine, where the riff keeps repeating and more and more noise is creeping in, I just want that to keep going![/code]

[Hobo]

This concept could turn into a discussion on old Levi's adverts. The Stilitskin and Babylon Zoo songs especially.

It was rumoured that Levi's wanted the Smashing Pumkins for an advert, but Corgan refused so they brought in Stiltskin and said make it sound like the Pumkins... Although I don't know if that is true, it explains why the section of 'Inside' used is nothing like the rest of the song.

[Morrisfan82]

If you make music with samples then the phenomenon of 'that little bit there is brilliant' is what usually drives you to take it on board & do perverse things with it.

[Cardinal Tit Storm]

...

[Beagle 2]

The bit at the start of PCP before it kicks in.

[ninestonecreature]

The 'big boys don't cry' section of 10cc's 'I'm Not In Love'.

T he bass/drums breakdown in the full length version of Chic's 'Good Times'.

George Harrison's guitar solo on 'Can't Buy Me Love'.

[kidsick5000]

'Piggies'-The Beatles
The very last little flourish from the chamber orchestra is one of my favourites sounds. Just after george says "One more time.."

[Darrell]

The lovely squidgy synth intro to Won't Get Fooled Again by The Who.

[non capisco]

It was rumoured that Levi's wanted the Smashing Pumkins for an advert, but Corgan refused so they brought in Stiltskin and said make it sound like the Pumkins... Although I don't know if that is true, it explains why the section of 'Inside' used is nothing like the rest of the song.

I don't think they were even an existing band before the ad. I'm pretty sure I read that the ad men hired some session musicians to write a 'grunge' instrumental, then got that tuneless Viking-looking guy to sing some doggerel over the top of it for a single release.

[morgs]

Ok, great idea for a thread, even if I am struggling to pick (or even remember) a favourite moment now...

Marillion - A few words for the dead (off the Radiation CD) : tribal rhythms and a very slow build up and then suddenly a wonderful major chord and 'Or you could love' - the song becomes something else.

I love chords that come crashing in from nowhere that take a song in a new and unexpected direction (so if anyone has a favourite please pass it on!)

My Life Story's cover of Duchess has a great ending as dance beats come in.

I love the opening bars of Buggles - Video killed the radio star - before the vocal.  And the end of Mr Blue Sky (all of it in fact!)

Beach Boys as mentioned above... and I will return if I think of some more!

[Claude the Racecar Driving Rockstar Super Sleuth]

The whispered intro of The Wind by PJ Harvey. The first time I heard it was on Blue Jam after the tiny vacuum sketch, and it was lovely and relaxing.

[Suttonpubcrawl]

I'm not sure if this counts as it might be a bit too long, but I really love the intro of LFO Mod by the Durutti Column, before it suddenly completely changes (I like the main bit as well). Funnily enough, I was listening to LFO Mod when I started reading this thread.

There are loads of other songs with bits like that, but I can't think of them right now so I may be returning to this thread later when they've come to mind.

[morgs]

Ooooooh! That unexpected piano bit in the middle of Something in the Air by Thunderclap Newman.  Splendid.

[Spiteface]

[I don't think they were even an existing band before the ad. I'm pretty sure I read that the ad men hired some session musicians to write a 'grunge' instrumental, then got that tuneless Viking-looking guy to sing some doggerel over the top of it for a single release.

I think you're spot on there. By the way, didn't that viking dude later join Genesis?

Anyway whoever mentioned PCP by the manics - You cuold name tons of great stuff in a similar vein - The ending to "Yes", I love the way the US mix extends that outro bit - It sounds closer to how they did it live

[Lumiere]

Mr. Bungle's Desert Search For Techno Allah..

at about 15 seconds, there's a crazy techno beat, and Patton just starts talking over the top. Get me every time.

[Evil Gazebo]

Two spring to mind:

The section in Feeder's new single 'Tumble and Fall' that starts with the lyrics "life's not the same / since the day you went away"

And when the oriental part starts up in Venetian Snares' 'Eleven Million Panda Bears in Bondage.' A really amazing calming part in what is otherwise a mess of a track.

Anyway whoever mentioned PCP by the manics - You cuold name tons of great stuff in a similar vein

Yeah, there's that bit directly after the first chorus of The Masses against the classes, although thats countered by the fact the ending is godawful

hmm.. first post. Hello to all

[Spiteface]

Masses... I reckon that ending was just to make the song more like Motown Junk's "We destroy rock 'n' roll" bit, but just fails miserably.  I like the song personally, but I thionk maybe that and Know Your enemy was a step in the wrong direction.

Another suggestion:  Dee Dee's lines in 53rd & 3rd:

Then I took out my razorblade,
Then I did what God forbade,
Now the cops are after me,
But I proved that I'm no sissy!

and Any Ramones song featuring Dee Dee singing.

[fbb bastard]

the squelchy acid house business after the first chorus of "slow life" by the furries

"up she rises" bit in "pale and precious" by the dukes of stratosphere

the 3rd classic riff in "back in black" by acdc....the one near the end where they change gear

"who do you think you are..do you damn well think your god or something....god giveth life and taketh it away, not you........i think you are the devil itself"

and the middle eight of "animal nitrate"

[Pepotamo1985]

Bumpage.

The section at about 7:10 of Earth Day from Devin Townsend's Terria. He utters "Music...well, it's just entertainment folks!" and the song utterly explodes.

[Labian Quest]

I've heard hardly any of these. :(

Two that spring to mind for me are the guitar solo in 'And your bird can sing' by The Beatles, and that train bit in 'Jumping someone else's train' by The Cure; I remember Jah Peel playing that particular bit three times in a row.

[Mustow Green]

Mr. Bungle's Desert Search For Techno Allah..

at about 15 seconds, there's a crazy techno beat, and Patton just starts talking over the top. Get me every time.

My favourite Bungle moment is during 'Ars Moriendi' on California.  At 3' 22" you're flung through a passage of 10 bars with a walking bassline, accordian, fiddle with Patton yoddling then out of knowhere a 4 note death metal guitar riff crashes in and abruptly vanishes.   Those 10 seconds or so are my favourite piece of recorded music

Not forgetting 'Ma Meeska Mow Skow' on Disco Volante there's a small, one second break where 2 Saxaphones squeak that has lead folk I've played this song too burst out laughing, (which is a good 'relief' moment as to fresh ears this song is just too strange.)  Strange coincidence this mooment happens at 3' 22" too, I'm not lying.

Fantomas is full of great moments too, will have to give it a listen later.

[oceanthroats]

Paul McCartney used to do a lot of these sorts of things. On McCartney He has that lovely little section at th eend of Hot as Sun, the Glasses/suicide bit that always seems to me to work really well. The actual suicide bit is a tiny clip of a longer song he wrote for Sinatra on a whim, and the full song doesn't really make it. It' slike a sort of cocktail crooner sort of thign with inappropriate title. But the tiny clip he sticks onto McCartney is close to the best thing on the album, it's a glorious littl ethign that sounds like a strange new sort of folk music rural thing that just sparkles. It's wonderful. '..of ruin and then she says nothing to him/oh oh oh oh...' Except the 'of ruin and then she says nothing to him' bit sounds like 'farmer ruin eye..' or something. I don't know, it seems like a small clip from some bigger song, some better fable type folk story or something. When the actual song is a fairly underwhelming cocktail crooner pastiche Sinatra turned down cold.

He did it again years later on the Off the Ground ep. The 'Take me down to the river..' bit is th ebest song on that ep, and indeed better than anything on Off the Ground(although I don't mind The Lovers that Never were) and the full song is probably not nearly as good as that little clip seems to promise it will be.

'Can you take me back where I've been from' from the White album, just before Revolution 9. A beautiful little moment, gorgeous, whereas the longer version is quite pleasant but clearly just a tossed off studio improvisation. The clip on the white album is dark and strange and murky and beautiful and feels part of something bigger or better. or maybe just a late night moonlit improvisation. (Don't think they had a telescope in studio 2 in Abbey road though did they?)

The end of the strawberry fields take that they ended up cutting off a minute or so in. They pt it on the anthology cd but they editer somethign over the end bit, which was all mellotrony and the real sound of cranberry sauce. It's glorious.

[Borboski]

There's a little bit of violin in on one The Notwist's songs, the one about "sit and watch the engines come and go".  It just sounds incredibly lush and chirpy in whats quite a morose song.