Small moments in music that make you go AAAAAAAAGH I LOVE THIS!

[Dr Syntax Head]

Rocket silver symphony by RIDE. When the chorus just goes off with the vocal harmonies going all AAAAAHH AAAAHHHH AAAAAAAHHH. It's like RIDE's whole back catalogue in one moment.

[jobotic]

The tiny chk-chk sound on the guitar string between She Loves My Automobile and I'm Bad, I'm Nationwide on ZZ Top's Deguello.

[Dr Syntax Head]

The tiny chk-chk sound on the guitar string between She Loves My Automobile and I'm Bad, I'm Nationwide on ZZ Top's Deguello.

You just made me go AAAAAHHHHH SOMEONE ELSE LIKES ZZ TOP.

[non capisco]

The phased "yeah..yeah..yeah..NOW!' before the second chorus on 'Save It For Later' by The Beat.

The bit on Ezra Furman's 'Haunted Head' when he goes "Gentlemen!" just before the doo-wop backing vocals come in.

Brix's bratty sounding "aaahhhhhhhh-ah!" backing vocals in the verses on The Fall's 'Couldn't Get Ahead"

The way Bowie phrases the superficially prosaic lyric "I absolutely love you" in 'Absolute Beginners' and makes it sound like the most windswept, heart lurchingly romantic sentiment ever expressed.

The big chord change at the end of 'Rocket From A Bottle' by XTC where it goes down instead of up.

Impossible to appreciate without hearing the song, but all the bits in 'Automatic' by Prince when he and Lisa Melvoin harmonise going "HEYYYYYYYY!"

More of these to come when I think of them.

[Dr Syntax Head]

The moment the bass comes in on untitled by Cure

[Absorb the anus burn]

The chiming guitar that opens Candyskin by The Fire Engines.

[jobotic]

"You've got so many machines Richard" "I haven't got that many"

"Richard?" "Yep"

COME ON YOU CUNTS LET'S HAVE SOME APHEX ACID

[DrGreggles]

This bit of 'Sabotage'.

[Dr Syntax Head]

This bit of 'Sabotage'.

Oh man. Yes!

[Sebastian Cobb]

The wailing guitar bit and the ride cymbals on Shoplifters of the World Unite, just before Moz comes back in with 'a heartless hand on my shoulder'.

[a duncandisorderly]

"you're not going to do the guitar solo?"

"no, I'm going to do an echo-pedal solo"

https://www.youtube.com/watch?v=PMLuzf6F5uY

[hedgehog90]

New Rose - The Damned
"AH!"

1 2 X U - Wire
Each time the drummer shifts speeds during the explosive bits.

I'm Left, You're Right, She's Gone - Giorgio Moroder
The backing singers repeating a word after each refrain during the chorus.

Amos Moses - Jerry Reed
The pensive moment at the end of each chorus - "Named him after a man of the cloth..." - and the way it drops right back into it.

Faron Young - Prefab Sprout
The chorus that appears immediately from nowhere.

Your Teeth in My Neck - Scientist
The moment those fat crunchy drums kick in at the 30 second mark.

Bury Pts 1 & 3 - The Fall
When the song starts for the 3rd time in perfect clarity.

[studpuppet]

Two from Sonic Youth:

Kotton Krown where there's this high strummed note that coalesces the previous noises from the beginning of the track just before the guitars flip out. I only found out later about them tuning all their strings to one note a la Glenn Branca, but that slightly discordant unity of sound always gets me.

Teenage Riot - it the last round of the opening riff, where the drums build, then there's this really high note that hasn't been there before and then the really bendy bass comes in. It should really fade there, but there's another two verses after that.

[poodlefaker]

On "When You Are Who You Are", when Gil Scott Heron cues in the break with the words "Come on, Norberto!", and Burt Jones (for it is he) unleashes one of the finest jazz guitar solos ever recorded.

[Captain Crunch]

Two more from Sonic Youth:

Purr, when the drums come back. 

Hey Joni, that rough 'HEY' at 3.33ish. 

[Norton Canes]

7:38 - but only if you listen to the whole thing

[daf]

Any excuse to post my favourite disco record of all time - Private Pink - Little High Things

Listen out for bit where the keyboard glissando goes all "3D" at 1:04 and 2:08 . . . but frankly, ALL of it makes me go "AAAAAAAAGH I LOVE THIS!"

AAAAAAAAGH I LOVE THIS!

[another Mr. Lizard]

The bass vocalist is a key component of any doo wop outfit, but I always love those moments where a similar low vocal suddenly and unexpectedly punctuates an otherwise upbeat, frothy pop song. "I don't think so" in David Essex's 'Gonna Make You A Star' being a prime example, here also loaded with pre-punk sarcasm. If you hear that song on the radio you cannot wait for that bit to arrive so you can join in.

[Sebastian Cobb]

The last couple of minutes of Arab Strap's New Birds on their excellent live album Mad For Sadness.

About 4 minutes in
https://youtu.be/ScjLp-0e2vs

[Jockice]

The bit of feedback after Jim Reid sings 'when I've annoyed you' on the Mary Chain's You Trip Me Up. https://www.youtube.com/watch?v=zK2nJWNgZBA

[nedthemumbler]

Could do an entire thread of these in Beatles songs, but just picking Rubber Soul, John's breathy intake on Girl, or Brian's speeded up keys on In My Life.

Or Paul's high vocal on Nowhere Man.  Or...

[Neville Chamberlain]

Could do an entire thread of these in Cardiacs songs.

[madhair60]

The bit in Amy (Spent Gladiator 1) where it goes metal as fuck; I am in my corner/ because I like my corner

[Nice Relaxing Poo]

The slight change in the drums at the end of I am the Resurrection that kind of pushes the band to go all out and gives it a very euphoric sound.

[Jockice]

The bass vocalist is a key component of any doo wop outfit, but I always love those moments where a similar low vocal suddenly and unexpectedly punctuates an otherwise upbeat, frothy pop song. "I don't think so" in David Essex's 'Gonna Make You A Star' being a prime example, here also loaded with pre-punk sarcasm. If you hear that song on the radio you cannot wait for that bit to arrive so you can join in.

Like this. https://www.youtube.com/watch?v=h6Wp_Hr64EQ&list=PL30EF27350148464A
And this. https://www.youtube.com/watch?v=S2ridqpEvFk&list=PL30EF27350148464A&index=8

Much as I love Lawrence I'd have loved even more a withering response from Serge to this.

[Crabwalk]

The moment in Fitness Forever's 'Andrè' where, following this build, it drops away to classical guitar and piano before reforming into an unbelievably gorgeous piece of disco-funk for about 30 seconds definitely makes me go AAAAAAARGH I LOVE THIS!

Listen to the whole song though, obviously.

[Sgt. Duckie]

The drums 4:00 minutes into the Nilsson jam 'Jump Into the Fire'.


https://youtu.be/w8X6mlbq45k


Also when the strings float in on Love's 'The Red Telephone'.

[Sebastian Cobb]

Obvious, but the drum solo in Move on Up.

[Shit Good Nose]

4:40-4:50 in this - https://www.youtube.com/watch?v=tJXtNMad3y8

The little smile when he knows what he's about to play adds to the pricelessness of it.

I'm not even much of a Neil Young fan, but those 10 or so seconds perfectly capture why music is so special.

[buttgammon]

I've been thinking of a couple of Bowie ones a lot lately, particularly the transition between Joe the Lion and "Heroes", and the bit in Station to Station where he goes "it's not the side effects of the cocaine, I'm thinking that it must be love".