Parts that make the hairs on the back of your neck stand on end

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Emp_FabEmp_Fab Frets: 24209
...or send a shiver down your spine.  You know.... an involuntary physical reaction to a part in a song that touches the parts others can't reach !

One that springs to mind for me is Bono's intro to 'Streets' at Slane Castle in 2001....

Listen to the way his voice suddenly transforms into this deep, mournful cry from the soul at 00:20 here....  It's like there's a hidden person within him being released..

https://www.youtube.com/watch?v=uDkBzkA9L4s&list=RDuDkBzkA9L4s&index=1


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  • joetelejoetele Frets: 947
    edited January 2020
    It's not the most elaborate guitar moment, nor would it be everyone's cup of tea, but the refrain during Deafheaven's 'The Pecan Tree' around the 9:25 mark where the whole band stops momentarily and the guitar plays a single line that leads into the next bit has always grabbed me by the heartstrings. It's so simple but it works wonderfully. 


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  • There are so, so many! Here's one that produces goose pimples on demand for me. Listen to this from about 3:35 (or 3:45 if you are impatient), it's a classic build-up into a soaring solo.



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  • DarnWeightDarnWeight Frets: 2566
    At about 2:05 in Private Plane by Husker Du...everything drops out after the final chorus into a simple guitar/drums breakdown which builds and builds, ascending towards the song's climax, bass comes in, new guitar part, harmony vocals...it's absolutely classic Bob Mould, and to this day, it gives me goosebumps every time I hear it.


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  • breakstuffbreakstuff Frets: 10229
    edited January 2020

    The long, bent note at the beginning of the end solo of Quicksand Jesus by Skid Row as Seb Bach sings 'far awayyyyyyyyyyy.......'

    Great song and solo, but that part gets me every time. Starts at 4.31.




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  • JAYJOJAYJO Frets: 1526
    Emp_Fab said:
    ...or send a shiver down your spine.  You know.... an involuntary physical reaction to a part in a song that touches the parts others can't reach !

    One that springs to mind for me is Bono's intro to 'Streets' at Slane Castle in 2001....

    Listen to the way his voice suddenly transforms into this deep, mournful cry from the soul at 00:20 here....  It's like there's a hidden person within him being released..

    https://www.youtube.com/watch?v=uDkBzkA9L4s&list=RDuDkBzkA9L4s&index=1


    I agree it is ace but I prefer the tingling when the Bass kicks in. Love the tune its one of my faves.
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  • breakstuffbreakstuff Frets: 10229

    Also Devin Townsends Color Your World at 7.54 and The Greys at 10.05 where he goes into the softer parts of the songs. He really is a master of the light and dark in songwriting. Pounds your head to bits one minute, then can have you in tears the next. It's not all great, but when he gets it right he makes some of the most emotionally stirring music out there. Also helped massively by the lovely Anneke van Giersbergen.



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  • ICBMICBM Frets: 71957
    The line Chrissie Hynde sings over the end of the middle eight in the Pretenders' 'Back On The Chain Gang'... the best key change in all recorded music.


    "Take these three items, some WD-40, a vise grip, and a roll of duct tape. Any man worth his salt can fix almost any problem with this stuff alone." - Walt Kowalski

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  • trolleytrolley Frets: 88
    Page's solo in 'Sea of Love' by the Honeydrippers  I thought it was a sax at first!

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  • ICBM said:
    The line Chrissie Hynde sings over the end of the middle eight in the Pretenders' 'Back On The Chain Gang'... the best key change in all recorded music.



    It works that well it was worth pointing out for sure..  miles better than the usual stop->shift-a-tone mechanism.
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    is it crazy how saying sentences backwards creates backwards sentences saying how crazy it is?

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  • droflufdrofluf Frets: 3614
    When the horns break through just after 4 minutes


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  • AK99AK99 Frets: 1563
    It's an old one - but something that always gets me is the pause after the backing vocalists sing the 'Do you need anybody ?' line, Page's chainsaw guitar stops (at around 3:50 in this), and Joe launches the big scream ..



    Love the way it's set up for the big finale as the previous times the line is sung, the guitar stops, there's a little moment of silence, and then .. nothing :)
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  • Emp_Fab said:
    ...or send a shiver down your spine.  You know.... an involuntary physical reaction to a part in a song that touches the parts others can't reach !

    One that springs to mind for me is Bono's intro to 'Streets' at Slane Castle in 2001....

    Listen to the way his voice suddenly transforms into this deep, mournful cry from the soul at 00:20 here....  It's like there's a hidden person within him being released..

    https://www.youtube.com/watch?v=uDkBzkA9L4s&list=RDuDkBzkA9L4s&index=1


    1:15 to 1:25 when the crowd lights on is always a wow moment for me from that show. The whole show is fantastic though, so joyous.
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  • There are so, so many! Here's one that produces goose pimples on demand for me. Listen to this from about 3:35 (or 3:45 if you are impatient), it's a classic build-up into a soaring solo.



    I agree about that one. A great track


    The part that does it for me is Paul Kossoff's vibrato at the start of this one.




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  • scrumhalfscrumhalf Frets: 11262
    From about 4:05 onwards. Magical.



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  • vizviz Frets: 10644
    edited January 2020
    Wow there are some great moments in this thread - really enjoying it. 

    This one I’ve posted before - it’s the climax to Rachmaninov’s 3rd piano concerto. The concerto is one of the greatest challenges a pianist can ever undertake; and this performance by the young Olga Kern won her the Van Cliburn competition. The build up to the massive climax really starts at 39:19 with those orchestral grunts, then the conductor throws a glance at Kern as if to say Here we go, you ready?, and the process starts. You get the menacing deep bass piano section which starts relentlessly to climb, bit by bit, with the orchestra starting to join the march as it gradually morphs into a gallop with those devilishly fiendish lightning-fast left-hand octaves. Then at 40:05 just as everyone is playing as hard and loud as they can, everything stops dead as though the orchestra’s been whipped away, apart from those 2 chords that hang in the air like, I don’t know, like a pegasus launching off a cliff or something. Kern stairs straight ahead and looks like the most committed to a performance anyone’s ever been, like it’s the most important moment in her life - which it is I guess - then that clattering all the way down to the bottom - the piano must be made of 400 year old oak or something, it doesn’t move a millimetre - and the piano stool’s taking a hell of a beating too; and then at 40:18, THAT tune, the most important theme of the 3rd movement, rising to the climax at 40:31, but it turns out it’s a false climax as it steps back down again; and and then, at 40:38, the theme starts up again, but this time it rises and rises, layer upon layer, till you think it can’t get any more gorgeous and romantic, and yet unbelievably it does, the orchestration is so lush, the strings hammering home the piano melody and the horns following up majestically with a complementary motif, layer after layer piled on and on, until ... 41:10 BAM - The Climax, 41 minutes of exhaustingly emotional journey all culminating in that one chord - just look at her, you realise you’re holding your breath and crying at the same time, Kern looks like she’s going to break down, it’s amazing - and yet omg the climax is still happening, the trumpets are now blazing their highest notes over Kern’s chords - can you imagine the noise, it must be incredible, then it slumps down again, but omg can it be? yes there’s ANOTHER climax at 41:29, and this time as well as everyone in the room playing the loudest they can muster, Rachmaninov puts in the most joyous key change for the biggest chord of the night - where the fuck did that come from?! - then at 41:32 where every other composer would just end the piece with a few massive chords, comes the hardest most challenging part of the whole piece - the incredible flourish to bring the piece to a close - and as that last chord is shot out it’s like Kern goes bang. Look at her! Fucking hell. The shock on her face! And while the audience explodes, her body collapses - look at her right hand dragging uselessly over the piano stool like a seal’s back legs or whatever those flappy bits are - fins? Then the joy that spreads over her as she takes her bow, and her claim to the title, they all know she’s done it, she was only bloody 26, how can a 26-year old have learned how to do that???? It is staggering really, that achievement. Humans are truly amazing.
    Roland said: Scales are primarily a tool for categorising knowledge, not a rule for what can or cannot be played.
    Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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  • Two I can think of off hand (no video examples but they should be easily locateable) are these:

    - the bit in Bowie's Heroes when his vocals go up an octave and his voice just shrieks - incredible (not guitar though sorry)
    - the end of the guitar line in the Beatles Something in the Way She Moves where instead of leading back to C as you'd expect, it goes to C# as the third note in the A chord. Such a lift to the song
    Please note my communication is not very good, so please be patient with me
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  • NiteflyNitefly Frets: 4901
    Bloody hell, @viz , I haven't watched it, but that is one fine piece of writing - thank you.

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  • vizviz Frets: 10644
    Nitefly said:
    Bloody hell, @viz , I haven't watched it, but that is one fine piece of writing - thank you.

    Lol thanks, I got carried away. Now you need to watch it!
    Roland said: Scales are primarily a tool for categorising knowledge, not a rule for what can or cannot be played.
    Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
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  • gringopiggringopig Frets: 2648
    edited July 2020
    .
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  • Emp_FabEmp_Fab Frets: 24209
    viz said:
    Wow there are some great moments in this thread - really enjoying it. 

    This one I’ve posted before - it’s the climax to Rachmaninov’s 3rd piano concerto. The concerto is one of the greatest challenges a pianist can ever undertake; and this performance by the young Olga Kern won her the Van Cliburn competition. The build up to the massive climax really starts at 39:19 with those orchestral grunts, then the conductor throws a glance at Kern as if to say Here we go, you ready?, and the process starts. You get the menacing deep bass piano section which starts relentlessly to climb, bit by bit, with the orchestra starting to join the march as it gradually morphs into a gallop with those devilishly fiendish lightning-fast left-hand octaves. Then at 40:05 just as everyone is playing as hard and loud as they can, everything stops dead as though the orchestra’s been whipped away, apart from those 2 chords that hang in the air like, I don’t know, like a pegasus launching off a cliff or something. Kern stairs straight ahead and looks like the most committed to a performance anyone’s ever been, like it’s the most important moment in her life - which it is I guess - then that clattering all the way down to the bottom - the piano must be made of 400 year old oak or something, it doesn’t move a millimetre - and the piano stool’s taking a hell of a beating too; and then at 40:18, THAT tune, the most important theme of the 3rd movement, rising to the climax at 40:31, but it turns out it’s a false climax as it steps back down again; and and then, at 40:38, the theme starts up again, but this time it rises and rises, layer upon layer, till you think it can’t get any more gorgeous and romantic, and yet unbelievably it does, the orchestration is so lush, the strings hammering home the piano melody and the horns following up majestically with a complementary motif, layer after layer piled on and on, until ... 41:10 BAM - The Climax, 41 minutes of exhaustingly emotional journey all culminating in that one chord - just look at her, you realise you’re holding your breath and crying at the same time, Kern looks like she’s going to break down, it’s amazing - and yet omg the climax is still happening, the trumpets are now blazing their highest notes over Kern’s chords - can you imagine the noise, it must be incredible, then it slumps down again, but omg can it be? yes there’s ANOTHER climax at 41:29, and this time as well as everyone in the room playing the loudest they can muster, Rachmaninov puts in the most joyous key change for the biggest chord of the night - where the fuck did that come from?! - then at 41:32 where every other composer would just end the piece with a few massive chords, comes the hardest most challenging part of the whole piece - the incredible flourish to bring the piece to a close - and as that last chord is shot out it’s like Kern goes bang. Look at her! Fucking hell. The shock on her face! And while the audience explodes, her body collapses - look at her right hand dragging uselessly over the piano stool like a seal’s back legs or whatever those flappy bits are - fins? Then the joy that spreads over her as she takes her bow, and her claim to the title, they all know she’s done it, she was only bloody 26, how can a 26-year old have learned how to do that???? It is staggering really, that achievement. Humans are truly amazing.
    You should write erotic literature.

    I got moist reading that.
    Lack of planning on your part does not constitute an emergency on mine.
    Also chips are "Plant-based" no matter how you cook them.
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