The two that top it off for me are The Beatles' build up to 'The End' on Abbey Road and Fleetwood Mac's 'Angel' at the end sung by Stevie Nicks. Both ultimate examples. I want to compile a list with all the best ones. Add yours if you please.
How about The Motors?
Advertised as, "The vinyl is red, the label is blue, it's the new Motors single, Forget About You."
But the best track was on the flip side:
Picturama/The Middle Bit/Soul Surrender
Advertised as, "The vinyl is red, the label is blue, it's the new Motors single, Forget About You."
But the best track was on the flip side:
Picturama/The Middle Bit/Soul Surrender
1975 Led Zeppelin
Album : Physical Graffiti
Song : In the light
Has Erie synth / vocal intro and builds up and comes in around 2:40
One that a gets me is a breakdown around 4:06 just a very percussive keyboard line then a classic Jon Bonham lead in.
the drum fill has to be at least 1 or 2 bars.
Tat Tat bump , Tat Tat bump , buh bah buh bump, bum bah bum bum bah
Album : Physical Graffiti
Song : In the light
Has Erie synth / vocal intro and builds up and comes in around 2:40
One that a gets me is a breakdown around 4:06 just a very percussive keyboard line then a classic Jon Bonham lead in.
the drum fill has to be at least 1 or 2 bars.
Tat Tat bump , Tat Tat bump , buh bah buh bump, bum bah bum bum bah
1972 Black Sabbath
Album: Volume 4
Song: Wheels of Confusion / The Straightener
The song moves with dynamics across the 8 minutes, notable movement starts around 2:45
"Most bands" songs start clean , then overdrive the guitar for dynamics.
Sabbath is in the realm of ranges of overdrive and instrument dynamics.
Something many bands didn't touch. Bands got heavier by adding overdrive, but that was the height of the dynamic.
Many dont understand the challenge of how hard it is to be "heavy" and carry the dynamic further to be "heavier"
Drummer Bill Ward likely helps these dynamics, and feel sorry for any snare drum which he attacks for changes/dynamics
Good Example is around 4:54 with snare attacks every bar leading to another breakdown/reprise of the song
Album: Volume 4
Song: Wheels of Confusion / The Straightener
The song moves with dynamics across the 8 minutes, notable movement starts around 2:45
"Most bands" songs start clean , then overdrive the guitar for dynamics.
Sabbath is in the realm of ranges of overdrive and instrument dynamics.
Something many bands didn't touch. Bands got heavier by adding overdrive, but that was the height of the dynamic.
Many dont understand the challenge of how hard it is to be "heavy" and carry the dynamic further to be "heavier"
Drummer Bill Ward likely helps these dynamics, and feel sorry for any snare drum which he attacks for changes/dynamics
Good Example is around 4:54 with snare attacks every bar leading to another breakdown/reprise of the song
I like the way Paul McCartney's Uncle Albert/Admiral Halsey (Ram LP) builds up to the "hands across the water" bit towards the end of the song; plus, of course, "Hey Jude"'s transition between the chorus and the 'na na na Hey Jude' outro.
Geoff
Geoff
When I think of climactic buildups and rock, I think of build-ups leading into some wall of guitar sound, guitar solo or simply into the chorus.
You know, those parts where you tend to scream, sing along or, in case of "the who", break something ;-)
The first that come to mind
The Who - Won't Get Fooled Again
FREE - Mr. Big
AC/DC - Thunderstruck
You know, those parts where you tend to scream, sing along or, in case of "the who", break something ;-)
The first that come to mind
The Who - Won't Get Fooled Again
FREE - Mr. Big
AC/DC - Thunderstruck
Words -- Neil Young
I like the way "Go all the way" builds and builds on Bowie's "Hang on to yourself" (which is full out from the start) Sweet and Hoffs version is nice.
I like the way "Go all the way" builds and builds on Bowie's "Hang on to yourself" (which is full out from the start) Sweet and Hoffs version is nice.
Couple times in Genesis's "Dancing with the moonlit knight", around 3:20 when the bass player just steps on that deep pedal to accentuate the searing lead, then to kick that up a notch at ~ 3:40 when the haunting mellotron chorus comes in, just before PG starts singing "There's a fat old lady outside the saloon - Laying out the credit cards she plays fortune"
In a sort of Tool before there was Tool vein, I like the buildups in King Crimson's Fracture.
Wife just closed the bedroom door from the rest of the house. Apparently, she doesnt get it. Nothin like sustaining guitar chords - a violin with a wah pedal - and a jazz drummer where I come from.
Wife just closed the bedroom door from the rest of the house. Apparently, she doesnt get it. Nothin like sustaining guitar chords - a violin with a wah pedal - and a jazz drummer where I come from.