S-P-E-L-L-I-N-G MegaPack
(A SuperCompiLation of the parts of songs where words are spelled out loud)
This one comes to us from the Brianne Hughes’ THiNK TaNK Studios. From BHTTS’ press kit:
So: [we] decided to shove all the songs with spelling that I have right next to each other, words alphabetical, to see what it would sound like. It sounds weird and ends suddenly. I was going to upload it to my blog but it only accepts pictures and videos. Anyway…I made a thing and here it is.
UPDATE: And here is the list of included SongParts, straight from the BHTTS corporate weblog.
Price: Let’s say a dollar? Yeah, a dollar.
Stabbing at my Heart with Synths
(Just about to dance so hard now to Janet Jackson’s “When I Think of You”)
This is the part of the song where you just kind of stand there in front of your closet mirror, wearing your favorite oversized sweatshirt and socks, your head’s cocked and for some reason there’s a fog machine. No matter. For the next 4 minutes and 4 seconds, you’re going to melt your cares away by the sheer power of dance.
Price: $.11
What About It?
(Malkmus gets all interrogative in Pavement’s “Stereo”)
MALKMUS:
What about the voice of Geddy Lee?
How did it get so high?
I wonder if he speaks like an ordinary guy.BOB:
I know him. And, he does!MALKMUS:
Then, you’re my fact-checkin’ cuz.BOB:
(Awww….)
It’s Bob’s barely audible Awww… that makes it. Delightful.
Price: $7.00 (Pricier than the whole track, we know! But be honest, the song’s fine, but this ‘Part is better than the song that contains it.)
First reported at kung fu grippe.
Can’t Hardly Wait
(Arena suprema with Jon Bon and “Livin’ on a Prayer”)
If we asked you what happened in these few seconds of superanthem, you’d likely say, “key change.” You would be correct. And if that’s all they did, it would be just like the dozens of other pop songs that use that classic trick to squeeze a few more drops of energy out of a chorus.
But did you hear the other thing? They’re SO EXCITED to play this song, and to KICK IT OUT, that they just skip a fucking beat. The last measure before the key change only has three beats. And in doing that, they’re shouting LET’S GO, PEOPLE, GET ON WITH IT, LET’S LIVE HARD.
So here’s JBJ’s (and our) advice to you: if you’re excited about something, sometimes it’s OK to skip a beat. Don’t wait for dessert to arrive before you propose to her. Get in the hot tub with your pants on. Retire at 54. Submit the short story before you get your MFA. Hit the streets of Madrid before you’ve read the guidebook. Tell your best joke first.
Price: $.25
Okay, weirdo. Wait, are you mocking me?
(Joni Mitchell spazzes out and fake laughs(?) at the end of “Big Yellow Taxi”)
Price: $.04
Added to the SongParts OutTakes Collection from Dave Shumka’s Crates & Bins.
L’Ooh Ooh Ooh Ooh
(la meilleure partie de ”Ça plane pour moi” de Plastic Bertrand)
♪ Blein blein!
ce tais peur te votre cannes
mis mois!
le taix peu vrai votre somme,
coulet chou, cotre autre ton les poux…
quatre valet vous caichout…
[THE BEST PART] ♫
Price: €.08
Please, Kenny Don’t Hurt ‘Em
(The Panty-wetter solo in “Songbird” by the Maestro Kenny G)
You say name one soprano sax solo in the history of recorded music that is guaranteed to make a special lady’s water break. I tell you to put on this song and »» to the end, where Kenny displays a mastery of fingerblasting like the world has never heard. Go ahead, I’ll wait. We’re not allowed to listen to this track at the SongParts offices anymore. (Carpet cleaning bills got ridiculous.)
Price: No longer available. Too sexy.
The Uncoppable Lick
(From “You Can Call Me Al” by Paul Simon)
Strange coincidence: at least three people lived a significant portion of their adolecence with Paul Simon’s Graceland wedged inextricably in the family car’s cassette deck:
- Graham Clark
- Becky Johnson
- Scott Simpson
They know these two measures all too well.
From The Fretless Bass:
Three minutes and forty-four seconds into Graceland’s sixth cut is a two-bar bass break that has confounded as many bassists as it has inspired. “That was my idea,” says Bakithi of the wildly descending lick in the first bar. “We were recording that song on my birthday, and there was a space to fill, so Paul said, ‘Go ahead Bakithi. Do what you like.’ I just played—and they loved it. It was one take. Listening back, I didn’t know what happened; I thought it was from God, you know? I never planned it.’
Now for the tricky part: the second bar of the solo is actually the first part played backwards. Engineer Roy Halee simply flipped the tape over and spliced the two parts together. “People have tried to cop those licks,” shrugs Simon, “but it’s physically impossible.” So the next time your band covers “You Can Call Me Al,” forget about trying to duplicate Bakithi’s mutant solo and take a tip from Paul: just do what you like.
If you are a child or a cretin, it’s possible that you may never have seen the song’s video, a testament to understated delight.
Price: $.06
Climaxing in a Garden of Birds
(from Minnie Ripperton’s “Loving You”)
The pipes on her. I mean, really.
Price: $.05
Submitted to the SongParts Moods Collection by the Private Estate of Billy Disney.
And Electro-synthe-magnetic Musical Sounds
(Robot Lincoln Chorus from Disneyland’s “Main Street Electrical Parade”)
In science, that tone you hear underlying the whole of this delicious intro is what scientists call the “brown note” because if you’re a child and you hear that sound, you’re about to shit your pants with glee, as at this moment, you are in the happiest place you will ever be. At the end of this SongPart, pay special attention to the tone transposing up 18 octaves to the “yellow note” during which happy children pee themselves with happiness pee.
Price: $.33
