That one bit of a song you look forward to

[ButterTart]

I was in the Co-op just and Anastacia’s One Day In Your Life came on. I realised I have absolutely zero opinion on the song itself but I was focusing on it because I really wanted to hear the ‘WaaaaAAAAAn daaAAAAAAAAY’ bit.

I’ve also realised that my fondness for In The End by Linkin Park is entirely related to the second verse. Once it’s finished, I lose interest.

What’s that one bit of a song you look forward to no matter how many times you’ve heard it?

 

[ZenGiraffe]

The 'Eww' in Judas.

When Celine does the responses in the call and response bit in 'I'm Alive'

The entirety of Caramelldansen.

 

[Diddy]

That money note in Celine’s All by Myself

 

[Diddy]

I don’t have to wait long but when the beat drops at the start of Hung Up

 

[Christian]

The bit halfway through "Happier Than Ever" when Kelly Clarkson starts properly RAGING

 

[Christian]

I'm usually waiting for the middle 8

Friends they tried to warn me about you
He has good manners
He's so romantic
But HE'LL ONLY MAKE YOU BLUE

 

[Music]

The euphoric instrumental sparkly bit in the middle 8 of All The Lovers. Goosebumps EVERY SINGLE TIME

 

[Diddy]

The euphoric instrumental sparkly in the middle 8 of All The Lovers. Goosebumps EVERY SINGLE TIME

YES!! that really is the ultimate. Stuart Price really knows his shit

 

[jivafox]

I’m currently obsessed with the final long note in Andante, Andante.

 

[Diddy]

That “we’re running out of time” DUM DUM DUM bit in Steps’ Heartbreak in this City

 

[Lucille]

Had 2 glasses of wine at the concert last night and feel like I’ve been punched IN THE HEAD!

 

[AlgoAlex]

That “we’re running out of time” DUM DUM DUM bit in Steps’ Heartbreak in this City

The “call me on the TELEPHONE“ bit for me

 

[Marina Salty]

The first that came to mind
the "mmmm d'amouuur" in Celine Dion's Ne partez pas sans moi
the "HEY! HEY! HEY!" in Ivi's Adamou La la love
the "Dejjem ridtek, dejjem xtaqtek, lilek habbejt" in Claudette Pace's Desire
when the vocoder kicks in on the Olsen Brothers' Fly on the wings of love
the "Now I wait, WAIT!" after the middle 8 in Alsou's Solo
Anabel Conde adjusting her ear feed while she's blasting out the final note in Vuelve conmigo
the close-up to Ines's male backing singers living for the "magic no one else can find" in Once in a lifetime

 

[straightorbroken]

The tinkles that make way for Sarah Cracknell to coo "sail away" on How We Used To Live by Saint Etienne. I don't actually bother with the first bit to be honest. It's a song that lives inside a rainbow at this point. Swoon.

 

[straightorbroken]

There's also a life changing uh hu in Hole's Malibu, where the gristle just liquefies into pure pathos and beauty. More to come from me in this thread obviously.

 

[Diddy]

The long note and key change in Quedate Conmigo

 

[octophone]

"Would ask for bag in Texas...SMIIIIIIIIIIEEEEEUUUUUUULLLLLLLL"

(Smile - The Fall. MES's shriek is a proper spine tingler)

 

[octophone]

"And I need you more than want you....and I want you for all time (*chord change*)"

That chord change is possibly the greatest in musical history.

 

[Kate]

The little drum break in Roger Sanchez - Another Chance

 

[Kate]

Also

LEONARD BERNSTEIN

 

[ButterTart]

The final chorus drop in Bullet In The Gun has the same effect on me now as it did 23 years ago.

 

[ButterTart]

The second chorus of Stoned In Love… I prefer it to the last chorus because it loops around twice.

 

[ZenGiraffe]

The bit where Scherzy shouts X FACToooOOOOOR during her live performance of Poison.

 

[big ron]

Any part in any Liam Gallagher song where he becomes a parody manc. "I live my life in the CIIIIIIIIIIITEEHHHHHHHH"

 

[AGinAg (37)]

It tuuuuuuuurns out
You were making a foooooooool of me, ohhh

 

[Ellie]

I have tonnes of MJ ones. Despite hardly ever listening to much of him these days, these are ones I frequently revisit just to get to certain parts, particularly a good key change!

• The end acapella of Keep The Faith
• The key-change build up to In The Closet
• The “get up, won’t you go get down” going mental part of Get On The Floor
• The Greg Phillinganes piano in the background at the end of Man In The Mirror - fully accentuated in the Immortal mix version
• Key-change of Speed Demon
• Key-change of Liberian Girl

 

[Ellie]

The build up to the chorus of Tina Arena’s Chains. GOOSEBUMPS

 

[octophone]

"You're not gonna slow it, heaven knows you've tried
Got it? Good. Now *heavenly/evil vocodor choir kicks in* GET INSIDE"

The eerie, synthetic harmonies add so much to the overall feel of a fever dream or a dissociative episode.

(...and that's to say nothing of "I'm talking to you GET THE FUCK UP")

 

[octophone]

"...and like a harpischordist she moved"

I have no idea why that's the exact point where the song elevates. It's such an unusual image but so effective.

 

[ButterTart]

I have tonnes of MJ ones. Despite hardly ever listening to much of him these days, these are ones I frequently revisit just to get to certain parts, particularly a good key change!

• The end acapella of Keep The Faith
• The key-change build up to In The Closet
• The “get up, won’t you go get down” going mental part of Get On The Floor
• The Greg Phillinganes piano in the background at the end of Man In The Mirror - fully accentuated in the Immortal mix version
• Key-change of Speed Demon
• Key-change of Liberian Girl

MJ wise it’s the end of the last verse of Dirty Diana for me from ‘Diana walks up to me’ onwards

 

[ButterTart]

"...and like a harpischordist she moved"

I have no idea why that's the exact point where the song elevates. It's such an unusual image but so effective.

So weird, Hobart Paving was one of the ones I was about to say!

 

[Marilyn]

Some obvious ones:

“Let’s exchange the experience” from Running Up That Hill

“Let the choir sing” from Like A Prayer

and of course

“Touch me, that’s where it’s at” from The Slightest Touch

 

[Marilyn]

There’s a moment towards the end of Islands In The Stream where Dolly sings “lover” with this extra little flourish and it’s just the most casually brilliant use of her voice, I always listen out for it

 

[Marilyn]

“I didn’t fal-TERRR, NO!!” on Aretha & George’s I Knew You Were Waiting (For Me)

 

[Inner Smile]

The "OH!" at the start of Kylie's In My Arms

Mel C belting out "Thank you very much!" at the end of Spice Girls Stop

 

[Cerro de Casa]

Now I know you're mine
Now I know you're mine
NOW I KNOW YOU'RE MINE
You've got to

 

[Cerro de Casa]

Read my......
Body Language.
Take it
Down
Down
Down
​

 

[RJN]

It tuuuuuuuurns out
You were making a foooooooool of me, ohhh

Especially in the thunderpuss remix

 

[RJN]

The part that Atomic Kitten added to The Tide is High

 

[Cerro de Casa]

When chickens get a taste of your meat girl
Come on come on come on come on come on
When he
Sucks you deep YASSSSS
Sometimes you're
NOTHING
But
Meat


@jivafox @Iguana @Tisch @BoysForSeles