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Got any great music orgasm moments?
eg. Stone Roses - Sugar Spun Sister - the guitar playing along with the words at 1:55 - magic
First time I heard Patti smith's song Birdland I was in shock and breathing heavily. does that count. same with the first time I heard Tom wait's sing hold on was after a trajedy in the family. Couldnt let my feelings out til I heard that song. It tore me to shreds.
Bruce Springsteen's guitar solo on "Candy's Room"
Lil' Louis. Forgot about the song
Todd Rundgren - "Zen archer" : saxophone solo with amazing backing vocals.
Sorry this mirrors (some of) the top of my songs list soclosely. It's not a great orgasm unless the foreplay is great also (so the whole song has to lead up to it). I wrote about a few of these before.
1) Merry Clayton's voice cracking on "Murder!" in "Gimme Shelter"
3) SFA's "Run! Christian, Run!" -- As the shock at the realization that the religious rapture described in the first verse has been forced at gunpoint is still sinking in, the epic, full-voiced chorus arrives: "Dreaming of that perfect home by the Sun!" (This juxtaposition of muisical beauty and lyrical horror -- which only increases in the second verse -- seems to be a theme in many of my very favorite songs... those of you who voted for Sufjan Stevens' "John Wayne Gacy, Jr." may recognize the power of that maneuver.)
3) Paul Simon's "The Cool Cool River" -- The apex of the bridge -- with the horns playing a rhtymic blast behind him, punctuating the line "Sometimes even music cannot substitute for tears" (By the way, listening to this again I realized that it was produced with far too much reverb on his voice. Still orgasmic though.)
4) Kinks' "Shangri-La" -- the soaring chorus dies away, a pause, and then two slammed chords on the acoustic guitar, followed by a a rocking, chug-a-lugging middle eight.
Oh yeah, I forgot these other orgasm moments:
- Jane Birkin "Je t'aime... moi non plus"
- Donna Summer - "Love To Love You Baby"
- Prince - "Orgasm"
If you get out your organ and fiddle, then you've got an orgasm just waiting to happen.
Schwah, you're spot on about 'Run! Christian, Run!'. I saw SFA touring Rings Around The World and that song was overwhelming. On top of the musical beauty/lyrical horror you describe, there was a giant screen behind the band listing atrocities perpertrated in the name of Christianity. It sounds like a fairly simple ploy now, but the effect was devastating.
It may have been this thread that led me to listen to "Shangri-La" for the first time, so thanks Schwah.
A couple of my favorites...
The last 2 minutes of "Dry the Rain" (specifically when that bassline comes in)
The harmonies during the last minute of Primal Scream's "Movin' on Up"
The "I miss you" part of Slint's "Good Morning Captain"
When Portishead's "The Rip" makes the abrupt transition from acoustic to electronic
The sax solo that begins around the 10-minute mark of "My Favorite Things"
The transition from "To Here Knows When" to "When You Sleep" on Loveless
The last 2 minutes of Ride's "Vapour Trail"
The 10-13 minute mark of Tortoise's "Djed"
Too many orgasms to list them. Unforgettable ones though :D
Joel by the Boo Radleys when they hit the chorus "All I want is harmony
Like some outmoded sixties throwback
I don't feel no destiny you
make your own luck
if you want it now
I don't regret a single day"
They're known for not keeping the same chorus going over and over. Off that same album they have a song called "Charles Bukowski Is Dead" which starts off amazing with the catchiest melodies and choruses but they turn the song kind of proggy and neo psyche half way through. Not my cup of tea but at least they keep things fresh.
Also in Her Space Holiday's Tech Romance when it bursts into heavy guitar driven angst when he starts singing "It's such a shame..."http://www.youtube.com/watch?v=UoFcMDwu8ro
When Kurt Cobain screams in "Sliver" over a chorus of "grandma take me home" for several bars.
When the bridge to Pavement's "Gold Soundz" hits. Soaring head rush.
When "Via Chicago" by Wilco shifts abruptly from the more calm acoustic side to the weird, feedback through a vacuum side.
When the piano on "Poor Places" starts to play the sinister minor key part in prepartion for the "Yankee Hotel Foxtrot" outro.
When the chorus for The Kinks "Victoria" hits the final time and you can hear shouting in the background. It creates a very unrehearsed atmosphere to a chorus that already knocks me on my ass.
I've stated this before, but from about 4:40 on in Pavement's "Fillmore Jive", starting with "every night it's straight and narrow..." then building up into a furious guitar explosion before a final verse ending (the album) abruptly with "Their throats are filled with."
The simple guitar solo in VU's "I'm Set Free" makes my hair stand up.
The final verse in The Zombies' "Hung Up On A Dream", where they change key ("They spoke with soft persuading words..."). The tone of the music fits perfectly with the sentiment of the lyrics.
The Replacement's "Alex Chilton": that little guitar fill after the line "Mickey Mouse and the tarot cards"...2 1/2 seconds of blissful resolution to the preceding solo.
And "Witchy Woman" of course.
That's excellent Nassim! Though I shouldn't be too surprised that you like the song, given your predisposition to Built To Spill and mammoth guitar textural jams... I believe you & I are on the same page there.
Also the very few first seconds of Bedshaped by Keane the way his voice so gently relaxes you at the beginning. The tone of his voice is just perfectly pitched and romantic.
Also in Sweet Soul Dream by World Party when they break into Irish folk with the fiddle and the violins towards the end of the song. That's why I perfer them to the Waterboys. They could never swoon you with their epic ballads the way World Party does.