Favourite Moments in Songs

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On a more light hearted note, I've always been a sucker for the orchestral flourish/club beat at the start of Daddy's Gonna Pay For Your Crashed Car.
 
Kieran McConville said:
And for Axver who was picking bits from Crowded House's Together Alone, I'd also nominate the musical escalation that comes in at the end of Distant Sun.
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The "I don't pretend to know what you want" bit? Yeah, that's great. On a similar note but moving an album earlier, Whispers and Moans has a couple of really great parts, the "love that sound/time erased" bit in the middle and the "we are the mirrors" outro. The live versions where Neil really loses it on those parts, like on the bonus disc with the Best Of, are absolutely fantastic.

Kieran McConville said:
On a more light hearted note, I've always been a sucker for the orchestral flourish/club beat at the start of Daddy's Gonna Pay For Your Crashed Car.
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Hah, that's one of the reasons why I think it's one of the lesser songs on Zooropa. I just think it sounds cheesy and awkward.
 
Axver said:
The "I don't pretend to know what you want" bit? Yeah, that's great.
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It is, but I meant after that. Approaching the end, where the music just takes off and his vocals go into some vague inaudible refrain that I've never quite deciphered. That bit.



Hah, that's one of the reasons why I think it's one of the lesser songs on Zooropa. I just think it sounds cheesy and awkward.
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In context I think it works just fine. For lesser songs on that album I'd pick the slight 'Some days are better than others'.
 
Yes, that is a surprise. I'd also be surprised by hearing your favorite section of One Tree Hill.
 
Kieran McConville said:
The 'mother, I can feel, the soil falling over my head' part in The Smiths' 'I Know It's Over'.
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:heart: Brilliant, heartbreaking song. My favorite part is the "I know it's over, still I cling; I don't know where else I can go" line. The way he delivers it is devastating.
 
What's your take on his sexuality iYup? I've always found it so interesting, the way he has kept it ambiguous throughout his career. Guess it makes you focus on the music and not stuff that doesn't matter. Kele followed his lead.
 
cobl04 said:
What's your take on his sexuality iYup? I've always found it so interesting, the way he has kept it ambiguous throughout his career. Guess it makes you focus on the music and not stuff that doesn't matter. Kele followed his lead.
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My impression is that he is gay. Songs like This Charming Man and The Boy with the Thorn in His Side seem to me pretty clear references to homosexual affairs/relationships. Dear God, Please Help Me is an even more overt reference. One can say he is "in character" in those songs, but I think the pattern in the lyrics is pretty revealing.
 
iron yuppie said:
My impression is that he is gay. Songs like This Charming Man and The Boy with the Thorn in His Side seem to me pretty clear references to homosexual affairs/relationships. Dear God, Please Help Me is an even more overt reference. One can say he is "in character" in those songs, but I think the pattern in the lyrics is pretty revealing.
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Sorry, a user on songmeanings says you are wrong.

This song is NOT about sex. Morrissey is too creative and too brilliant a musician to make it that simple and blatant. He toys with the listener. He uses metaphors. He knows sex is the most fascinating subject to most humans, so he uses possible sexual references to peak our interest. This song is about Rome and him experiencing/feeling free there. The mention of the spreading of the legs is no different than the spreading of the pages of a book; a person opens a literary beauty and then immmerces his/her face within the pages. It's a liberating feeling when those pages contain a special beauty and hold your attention. For the creative lil' devil Morrissey, Rome did it for him.
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I've listed a 2 second moment and a 50 second moment. They cancel each other out.

And from what the ladies tell me, you do live in a world where moments last 50 seconds.

HEYYYYYYYYYY-O!
 
The spacey intro to U2's 'Slug' (ok, Passengers, whatever). Also the bit where he sings 'don't want what I deserve'.

The 'love that loves to love' part of Van Morrison's 'Madam George'.

Heh, someone brought up The Unforgettable Fire. The 'walk on by, walk on through, so sad to beseige your love so heaaaad on' part of the title track.
 
Who knows with Morrissey, but that interpretation by the chappie on Song Meanings, that it is about Rome, is consistent with how "only stone and steel accept (his) love" when he throws his arms around Paris.

Maybe he is sincerely asexual? Unless you are Bisexual, maybe asexuality is as alien as homosexual is to a raging heterosexual like myself? You just don't understand how a sexuality works, if you are not of the sexuality?

Sorry for sidetracking.
 
You know that part in YYY's "Zero" where Karen sings "crying, crying, crying, oh oh," right? Well the coo she lets out after the first and third instances.

The "alright, listen" in "Ball & Biscuit."

When Annie takes "best finest surgeon" up a couple octaves.
 
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