Songs where bits seem tagged on for the hell of it

[Maude]

10 minutes ago, casapete said:

Know what you mean, but by then the main riff is getting a bit much IMHO, and the middle bit breaks it up nicely. Great guitar solo too...😀 

That is true. 

[Maude]

2 minutes ago, nilebodgers said:

Or rather it would be if it was a quarter of the length...

Isn't there a full version and a radio edit?

[Paul S]

16 minutes ago, Maude said:

The middle bit in My Sharona always feels a bit shoved in there, especially when it changes back to the main riff. 

'Black Betty' is similar, I always thought.

[nilebodgers]

2 minutes ago, Maude said:

Isn't there a full version and a radio edit?

According to wikipedia 54sec were cut out for the radio version...that must be the interminable guitar solo.

[thodrik]

 

Not exactly an entirely mainstream song, but Morningstar by Baroness is one that comes to mind for me.

For me it is a classic case of tagging a 'heavy rock' riff into the beginning and end of a song. The song in the middle has no relation to the opening riff whatsoever and is kind of just a standard verse/chorus rock song. The opening riff then returns at the end, again out of nowhere. I quite like the opening riff but the song leaves me a bit 'meh'. My friend likes the song but finds the opening riff 'meh'. My brother hates the whole song in its entirety. 

Also I just don't like the mix, the bloody hi hat is so damn loud and everything is really compressed. 

[Cosmo Valdemar]

I've never had a problem with a song taking a sudden change of course midway through. In the case of Baba O'Riley, Layla and The Chain, these changes lift the songs to the sublime IMHO. 

There's no reason why a song should remain constant in tempo, key or anything. Grafting two songs together to make a new one is a perfectly valid approach to composition. It's picking the right two song's that's important 😁

[tauzero]

38 minutes ago, Paul S said:

'Black Betty' is similar, I always thought.

The full length version, presumably?

Much as I love it in its many incarnations, I have to say that "Freebird" is another one in this category.

Quite a few songs by Green Day have an outro that doesn't really follow on from the rest of the song (eg. Boulevard of Broken Dreams). Maybe it's just to make it more difficult for cover bands to learn.

[BlueMoon]

Most of the B side of Abbey Road

[tauzero]

9 minutes ago, Cosmo Valdemar said:

I've never had a problem with a song taking a sudden change of course midway through. In the case of Baba O'Riley, Layla and The Chain, these changes lift the songs to the sublime IMHO. 

There's no reason why a song should remain constant in tempo, key or anything. Grafting two songs together to make a new one is a perfectly valid approach to composition. It's picking the right two song's that's important 😁

I agree, the same with Freebird.

[Japhet]

The guitar(s) at the end of Layla sound like 2 Tom cats having a set to at 3am. It really is a horrendous racket.

[PaulWarning]

3 hours ago, bassbiscuits said:

The jabbing / honkytonk piano middle section of Thunderclap Newman’s “Something in the Air” bears no relation to the song either side of it. No idea why it’s there.

.

I know what you mean but when the song kicks back in it doesn't seem to matter

[PaulWarning]

1 hour ago, Maude said:

Isn't there a full version and a radio edit?

to be fair almost all radio edit's are better, maybe another thread?, which ones aren't

[Paul S]

Actually thinking about it, you could choose a Black Sabbath tune at random from the early albums and it will have a strange increase in tempo in the middle.

Not that I care, I love those albums.

[Graham]

Probably heresy among Opeth fans, but Black Rose Immortal sounds like a number of ideas jammed together that is more famous for it's length than for being good 

[4000]

5 hours ago, Barking Spiders said:

I'm sure many will disagree but there seem to be a fair few rock songs where the writers tag on chunks of music which bears no relation to what's gone before it. 

Layla  and the plinky plonky slow piano bit with meandering slide guitar all over it.

 

 

The first bit could describe most of my favourite bands. Prog rules!😂

Yeah, I never liked the outro to Layla. Some of my least favourite slide playing ever. 

[casapete]

I’ve always loved the Layla outro but realise I’m in a very small minority. Duane Allman and EC sound great to these ears, whether ‘in tune’ or not. I remember the album being released and listening to it all the way through in awe. Seem to remember hearing some other versions from the sessions which were far more shall we say ‘interesting’. Will post  if I can find them, if only to annoy the BC faithful. 😂

[Lozz196]

1 hour ago, casapete said:

I’ve always loved the Layla outro but realise I’m in a very small minority. Duane Allman and EC sound great to these ears, whether ‘in tune’ or not. I remember the album being released and listening to it all the way through in awe. Seem to remember hearing some other versions from the sessions which were far more shall we say ‘interesting’. Will post  if I can find them, if only to annoy the BC faithful. 😂

I love that part too, the start of it on piano then when the guitars come in, just fantastic music to me.

[StickyDBRmf]

Poem 58 on Chicago Transit Authority. There's a riff then Terry Kath burns the studio down. At 4:48 a whole different song...and they give Terry another solo!

[Owen]

8 hours ago, fretmeister said:

Mr Blue Sky ending.

Not just me then. 

[musicbassman]

Strawberry Letter 23 - Brothers Johnson.

The harmony guitar part in the middle (starts 2.25 here) sounds completely unconnected from the rest of the song.

But it's still pretty amazing, and I think it was played by Lee Ritenour.

The Shuggie Otis original of this sounds more coherent as a song.

 

[Barking Spiders]

18 hours ago, Cosmo Valdemar said:

I've never had a problem with a song taking a sudden change of course midway through. In the case of Baba O'Riley, Layla and The Chain, these changes lift the songs to the sublime IMHO. 

There's no reason why a song should remain constant in tempo, key or anything. Grafting two songs together to make a new one is a perfectly valid approach to composition. It's picking the right two song's that's important 😁

While I'm gonna stick to my opinion on Baba and Layla I think all the elements in The Chain hold together well, the way the guitar quietens as 3.00 and that bass line starts at 3.04 and the builds up. A very well constructed song I'd say.

[PaulWarning]

The Beatles seemed fond of ridiculous outro's, Strawberry Fields, what is that all about? Hello Goodbye, as well as stupidly long endings like Hey Jude and All You Need Is Love

[Bolo]

 

[bearhart74]

The end part of Sweet Child o Mine by GNR... 

If you have to write lyrics like "Where do we go? Where do we go now?" to finish a song maybe you should take it easy on the brownstone and use your brain for something more than keeping your ears apart.

Edited February 19, 2021 by bearhart74

[Muzz]

There's an entirely disconnected middle section to Sting's Englishman In New York, like he's just remembered he's aspiring to jazz sensibilities (and he's got Branford Marsalis tapping him on the shoulder) halfway through a perfectly good pop song...the drum break to bring it back in is one of the most jarring transitions I've ever heard...

I should add it's one of our 'Quiet set' staples, and we originally played it with the middle section in...once: everyone just looked at us like we'd gone mental, I guess people don't remember the middle...and for good reason... 😕

Edited February 19, 2021 by Muzz