Townsman E. Pluribus Gergely suggested this topic for discussion: What’s your favorite middle eighth (or break, as you might call it) – and why?
This question is a little different from “What are some good middle eighths” or “What are your 67 Top 5 Elvis Costello middle eighths?” Note that you’re asked to explain why your favorite middle eighth is your favorite. You can provide more than one answer, but your thoughts and, yes, feelings about the middle eighths you list are required. This may require you to step out on a limb and get into some musical and even personal stuff. Don’t be threatened by the challenge; no one’s going to whip up some perfectly convincing answer based around wholly convincing musical theory. Do your best. Be honest.
I look forward to your answers.
I’ll have to think about the middle eighth that is my favorite of all time, but I can say that in recent years it’s been the middle eighth in Nick Lowe‘s “Hope for Us All,” beginning at the 1:45 mark on this video. Using simple variations on the song’s main chord progression the lyrics drive home the emotional story of the song, and I find this to be the most direct, emotionally resonant song I’ve heard in the last 10 years.
There are other middle eighths I love that use more dazzling variations on the core musical themes to drive home the song’s content, but probably the characteristic that all my favorite middle eighths share is that ability to drive the song’s purpose home. There are some extremely creative middle eighths that are centered around “la-la’s” or instrumental overdubs or effects that I love, but if the break isn’t raising my consciousness of the song’s core, then that break won’t make my “favorites” list. You may think otherwise.
“Baby Blue” by Badfinger is the one that immediately comes to mind.
Again, “We Can Work It Out”. I like the time signature changes and the way they help stress the importance of working things out.
See how I get that “feeling” thing in there?
E. Pluribus
“Baby Blue”. Yeah, that is a KILLER break! Similar minor chord thing going on like “We Can Work it Out”. Good one, Oats!
E. Pluribus
Oats, why does “Baby Blue” come to mind? Is it the minor chord thing, like EPG suggests?
For me “We Can Work It Out” is a song that almost exists for the middle eighth. I get impatient during the verses and choruses, but the break always pays off. Along those lines XTC has a long, kind of excruciatingly awkward song called “No Language in Our Lungs” that is ONLY worth my time for the middle eighth. Andy Partridge has a few other songs like this, for me, perhaps making him what Plurbie might call my Miller’s Crossing of songwriters.
Like EPG mentions, it’s got the nice minor chords. It also has a different rhythm from the rest of the song. Emotionally, it seems to take the hopeful feeling of the song up a notch.
Truth be told, I think one of the biggest factors that keeps The Beatles a notch or 50 above The Stones is that they knew the importance of the break.
Try to come up with a great Stones break. It’s somewhat difficult.
E, Pluribus
That part in Please Please Me that goes “(something about) complaining but you know it’s always raining in my heart…” is the middle 8 right? If so, that’s my choice.
The hooks are so strong elsewhere throughout the song that it’s amazing that they had anything left for a middle 8. Just when I start thinking “this song can’t get any better”, it does.
Bookmark that term “Miller’s Crossing Songwriter”. Well done!
E. Pluribus
EPG,
Angie, Rocks Off, Miss Amanda Jones
True, Plurbie, the Stones were not the world’s greatest middle eighth writers, but two winners that come to mind are the middle eighth in the throwaway “Stupid Girl,” a middle eighth that Elvis Costello would recycle for “This Year’s Girl,” and the rallying cry of a middle eighth in “Rocks Off.”
The “Rocks Off” middle eighth is what I consider the Stones’ typical approach to this device: they break down the song, Jagger brings the band down, and then he shouts out a killer couplet to get the party going again. “Let’s Spend the Night Together” is another song that uses this technique to great effect. I must say, it’s not the most artful approach, but when writing a 4-on-the-floor rocker this is my go-to device for a middle eighth.
I have to pince nez this whole thread. It’s middle eight not middle eighth. In other words, eight bars. We Can Work It Out is sixteen bars, so maybe it’s more of a bridge. Haven’t we had this discussion before?
Another great Stones ‘contrasting middle section’ or whatever we want to call it is in Have You Seen Your Mother, Baby? Tell me a story about how you adore me….
All right, BigSteve, thanks for the pince nez – now let’s hear your favorite middle section of indeterminate length.
CDM and BigSteve,
Just for the record, the breaks you cite are in no way near a Beatles caliber. As far as “Have You Seen Your Mother” is concerned, what’s there is typical Jagger laziness, two well delivered lines that are interesting followed by repeition, i.e. let’s get this thing wrapped up so we can all get fucked up and/or fucked ASAP. The Beatles would never have settled for such slop. And CDM, you’re kidding, right? Those songs have breaks of a “We Can Work it Out” level. I DON’T FUCKING THINK SO!!!!!!!!!!! What’s happening to you? I expect Mockcarrlike insight from you. What’s next a “high five” for “Liverpool Fool” by Brownning Bryant? Remember that megastinker Hrundi went on and on about for two or three weeks? C’MON! GET IT TOGETHER!
True, the breaks you cite, including Mod’s choice of “Stupid Girl” might be effective, but there’s no magic there. And once again, this criticism is coming from the ultimate Stones fan.
Hell, give me a single Stones break that even comes close to the middle eight in The Beatles “I’ll Get You”. I get goosebumps just THINKING about how great it is. True, nothing important is really said, but the construction, melody, and harmony elevate all that june in moon poop to levels above Shakespeare’s capabilities.
Know that I’m expecting much more from ALL of you!
E. Pluribus
We Can Work It out was the first song that came to mind. feelings: John singing “Life is very short, and there’s no time…” makes me feel that i should appreciate today, every time i hear it.
Fergie has a song called London Bridges.
She is an idiot, and her/BEP’s music is totally inane, but that song has this really beautiful scat/doo dah dat part in the middle that makes me feel floaty.
Just a note to all,
Hrundi will not be around for a couple of hours or so. He’s busy blowing Browning Bryant behind ZZ Top’s tour bus.
Sincerely,
E. Pluribus
also:
“when I’m home…”
in Hard Day’s Night is a killer middle 8.
EPG,
Know that I always appreciate your Howard Roark-like approach to the quest for Truth and Enlightenment through pop music. But I’m not suggesting that those middle bits are better than the Beatles middle bits. I’m just saying that I like them and think that they serve the song well.
Yeah, definitely, Kilroy,
I keep searching my head for breaks that are even 7,000 miles or so close to the dartboad of what’s served up in “We Can Work it Out”, etc., but they’re just not there. That really is the major thing that separates the Beatles from just about everyone else. They knew the importance of middle eights and were masters at writing them.
E. Pluribus
A couple of mine are the Music Explosion’s bubble gum classic A Little Bit o’ Soul:
http://www.youtube.com/watch?v=CgGjvZcNpKs
A simple modulation but very effective. I love everything about this record — the drum rolls, the cheesy organ, the poorly enunciated lyrics, and of course the hook/riff.
Another great one is Toussaint McCall’s Nothing Takes the Place of You:
http://www.youtube.com/watch?v=sjRady3fZrk
I love the way the emotion is expressed more powerfully by the restraint in the way he sings. And I love the line “I feel the need of you.” I had forgotten all about this very minor hit until it was used in the Hairspray movie.
If the middle eight is truly 8 bars and therefore the things that are longer or shorter than 8 bars in the middle are called the bridge, what to you call the part in between the verse and the chorus?
You know, the part of the Jeff Lynne song that is disproportionately better than the rest of the song (e.g. Livin’ Thing “..and you, and your sweet desire…”)
For the record, cdm has stated what his favorite middle eight is. I agree with him about the effectiveness of the Stones’ humble approach to middle eights.
I’m still working on my FAVORITE middle eight. I’d like to suggest that, for a combination of lyrical development and dazzling, degree-of-difficulty musical heights that something like “Strawberry Fields Forever” is the “best” middle eight, but that would be cheating the topic, which asks for my (and your) personal fave.
As another aside, for economical middle eights that top the Stones’ approach, how about The Stooges’ 1-chord break in “No Fun”?
I like them too, and they do indeed serve the song well, but once again, they’re absolutely and positively not of a Beatles caliber.
I’m searching my head for breaks that just slay me, especially when I’m driving around, and one that keeps resurfacing is the one in “Good Times, Bad Times”. And just for the record, I am not a Zeppelin fan. That said, I’ve gotta once again give credit where credit is due. Plant’s delivers those lines perfectly with barely controlled anger, and the anger is finally released with what Jack Black would call a face melting solo. It’s hard for me to give that band a back slap, but that break is just phenomenal.
I NEVER get tired of hearing that song.
E. Pluribus
Strawberry Fields doesn’t have a middle eight as far as I can tell.
For degree-of-difficulty The Kinks’ Autumn Almanac seems to have to middle eight (beginning “I like my football…”) followed by a second middle eight (beginning “This is my street…”) followed by a middle ten (from “cuz all the people I meet” to “hear it calling me — come on home”).
In the Who’s Bargain, the switch from Daltrey’s macho growling over the full, electric band to Townshend’s light acoustic guitar with introspective lyric section completely captures the complexity of that band. Townshend’s songs work both sides of that coin and Daltrey embodies the fiery rock stuff in ways PT cannot. I also love the way the band builds back to main verse/chorus instead of doing a 2nd hard switch in the tempo.
One of my faves is the middle section/bridge to “When I Get Home.”
“When I get home tonight, I’m gonna hold her tight, I’m gonna squeeze her ’til the cows come home…”
“Strawberry Fields Forever” not having a middle eight would be a great reason not to suggest that as my favorite! In between work stuff I must be thinking of a mood/arrangement shift.
“Autumn Almanac” is a great bridge! I recall a cool piece you wrote on that song years ago, BigSteve, when we first met.
The middle eight in “Bargain” is an interesting one to suggest, k. Nice supporting details, which my man hrrundivbakshi seems to be lacking, unless those lyrics in the break in “When I Get Home” really do hit him in a meaningful way. Is that what you’re getting at, HVB?
“Staying Alive” by the BeeGees originally had a middle 8 that slowed down and got ballady, like “Nights On Broadway” does. The producer said that it was really bummin him out, it killed the whole momentum of the song which was slated to be dance floor gold, so they cut it out.
“Autumn Almanac” is a winner, but it’s not up there with that zinger in “We Can Work it Out”.
E. Pluribus
The middle/section bridge of “Day in the Life.” One of Paul’s best moments.
Just an update,
At approximately 1:59 p.m., Hrundi took a break from blowing Browning Bryant behind ZZ Top’s tour bus to tell us about his positive feelings concerning the break in “When I Get Home.”
Please note that he has made a safe return to the area behind the tour bus where the uninterrupted blowing of Browning Bryant continues.
Sincerely,
E. Pluribus
dr john wrote:
That’s a pretty cool moment, but I’m surprised you’re into that one, dr john! I’ve never thought it takes the song anywhere without the “ah” interlude that leads out of it. I mean this as a compliment: I thought you’d have higher standards for a favorite middle eight.
I’m a sucker for “Suspicious Minds” on the whole, but there’s something really GREAT when E. sings, “Let our love survive…” Strong stuff.
TB
Are what we would consider well-crafted middle eights in Stax songs as rare as I think they are whenever I hear the break in “Sitting on the Dock of the Bay?” It’s not the world’s smoothest break, but to me it’s one of those simple, direct, heartfelt breaks that drives the song home. Then I think about other Stax/Volt songs and don’t hear any crafted breaks. I’m not counting horns breaks with gutteral noises. Am I missing some obvious middle eights in Stax songs? Sam and Dave’s songs have them, but they usually sound gimmicky or along the lines of those “let’s get back to the beat” Stones breaks.
Oh yeah Suspicious Minds is a great one.
And btw the concept here is what is your favorite middle eight, so greeting every song mentioned with “no, that’s not as good as mine” is kind of silly.
BigSteve, what you say is EXTREMELY TRUE, but just as I’ve already ignored a number of my ground rules, that stuff’s to be expected from us now and then. I hope that people are at least making strong, nerdy, passionate, and entertaining objections, however unnecessary and silly that might be.
Latelydavid,
“Suspicious Minds” is a doozy. The marriage between Elvis and Priscilla was really going down the shitter, and the King really puts his heart and soul into the whole track, especially that break. I get a knot in my throat everytime I hear that thing.
Good call!
E. Pluribus
P.S. To all RTHers, Fox News, CNN, etc., please post any updates regarding all activity behind ZZ Top’s tour bus. From all accounts, Hrundi’s having a pretty good time back there.
The Easybeats’ Pretty Girl is well crafted in the way it does a middle eight that messes with the chord structure and turns into a big ol’ harmonic wail that can still slide right back into a nice outchorus the second time through.
The Who have some effective ones, like when Townshend comes in during So Sad About Us “apologies mean nothing, when the damage is done…” builds that tension back into the chorus and that monster drumming. Similarly, Circles has that middle eight – “just one thing could kill the pain..etc” snaps you back to attention after the the opening riff starts to get monotonous.
I don’t know what to call it when there are a bunch of parts, like what happens in epic Kinks songs like Shangri-La
Bad Reputation by the dBs has a bunch of parts too.
There’s a minor chord or something at the beginning of Baby You’re a Rich Man around where John sings “you keep” that I always look forward to.
I meant, at the start of the middle eight in that song.
The “tack on” is sometimes a very effective move, i.e. Lennon’s repetitive psychotic demands of “Come On” near the end of “Everybody’s Got Something to Hide Except for Me and My Monkey”.
Carousel borrowed that little trick for “The Baker’s Song”. Moderator, good move with all that “A Most Peculiar Lad, Dean Humphries” nonsense. That still holds up really well, for me at least!
E. Pluribus
I think a 60s band could exist called the “Come-Ons” which could limit themselves to songs with that phrase in them.
I guess my favorite middle eight is the same one as Kilroy’s, Hard Day’s Night. I’m a sucker for trading off vocals, call and response type stuff.
Mockcarr, I’ve long thought a great power-pop band name would be The C’mon C’mons.
“Hard Day’s Night” has a great middle. Takes an exciting song and makes it more exciting, somehow. Really plays up the interplay between John and Paul’s voices.
Obviously, the Beatles walk away with this, since they have so many killer middle eight/bridges. Obviously they are much more prevalent among songwriter-y types who carefully structure their songs; I suspect Lennon did it much less than McCartney once they started writing more separately. And it is not surprising that more blues/folk oriented acts use them less. Rocks Off and Loving Cup are two of the only really memorable Stones middles that I can think of. Dylan–hardly ever used them at all, although for some reason several of the songs on (the underrated) Planet Waves have them, sometimes to very good effect such as with “Hazel.”
Certainly “You Get What You Deserve” and “September Gurls” by Big Star have great, great middle sections. Even if Mod hates Radio City.
And I’m not musically astute enough to know if it counts, but the “Everyday I look at the world from my window….” sections of Waterloo Sunset are tremendous.
To all RTHers,
I do not want to interrupt Hrundi. He’s obviously having the time of his life. The only things missing from the equation are Prince and the members of ELO, and I suspect they are somewhere in the vicinity, on the second or third floor of some Days Innlike hotel, watching, with the aid of cheap binoculars, the whole thing go down (no pun intended). I can’t speak for ELO, but Prince is definitely diggin’ it.
If anyone in Cyberland has Hrundi’s number, please text him to let him know that I finally watched his posted clip of The Atlantics performing “Come On”. Let him know that I would like to know why he thinks/feels, no feels, any one of any age, race, creed, or color would enjoy a performance of that totally fogettable piece of freakbeat drivel by him and his buddies who are at the age when a routine colonoscopy is right around the corner.
E. Pluribus
“I got arms that long to hold you…” Yes. The Beatles had some great middle 8s.
Speaking of Stax, Lately David played the historic New Daisy Theatre (not an oxymoron) this past weekend on famous Beale Street. I had a bit of time before the show, so I took a stroll. I found a shop with a Booker T and the MGs’ Melting Pot teeshirt. Needless to say, I own it now.
TB
Although not my favorite (I’m still pondering this), “Things We Said Today” always seems especially cool because it goes from minor to major. This seems to be the opposite of most Beatles breaks.
I just had to consult with EPG on a type of break that I seem to be favoring, what he has dubbed the “Reflective Break.” I keep thinking of the Nick Lowe song I posted here, “Sitting on the Dock of the Bay,” “Two of Us,” and other songs that use the break to take a step back and reflect on where we’ve been and where we (and the song) are headed. There are a number of doozies involving major to minor chords and other cool tricks that I’ve been thinking about, but I seem to be centering on the reflective breaks. I’ll be sure to report my absolute favorite if I ever figure this out.
Reading back a few posts that I missed…OH MY LORD, the “Everyday I look at the world through my window…” break in “Waterloo Sunset” just may be my FAVORITE! Thanks for reminding me of that one, misterioso!
That, too, reminds me of another “Miller’s Crossing break,” the middle eight in The Kinks’ “Big Sky,” a song that is only justified by making it to that majestic break.
Groundbreaking work, Moderator, but here’s something to think about. Aren’t all breaks “reflective breaks”? Or are some just better examples than others?
“Two of Us” does indeed feature thee finest example available of the “reflective break”. That said, “Dock of the Bay” is great as well, short but very effective. Not to toot my own horn regarding my findings, but it is the time in the song for the author to pull back, take a second look, and work things out.
E. Pluribus
EPG — when exactly did you become one of those dudes who hides out in his basement, flaming people in online rock discussion groups?
I think you’re getting wrapped around the axle again. Take a deep breath and climb the stairs, back up to the sunlight. Crack open a beer and sit in a lawn chair for a few minutes. It’ll help.
HVB,
He’s always been like that, hasn’t he? That’s the only reason I look forward to his posts. It’s certainly not for the content.
Hrundi,
Golly gee whittakers! You’re back! Bryant’s obviously got nothing left in ‘im. Well done!
And give me a break about the whole basement thing. I haven’t been up on RTH for at least a year or so. I forgot how fun it was taking the piss out of you when your pomoposity became intolerable, aka like its been for the last year or so, when I haven’t been able to add my two cents to the pot (as I stated previously work, wiping asses, and more work keeps one preoccupied at times).
Do me a favor. Scribe one interesting, scrap that, semi interesting thing about anything whatsoever, and I’ll lay off. Unearned arrogance REALLY drives me out of my skull, and its even worse when it arrives in patronizing clothing. Again, deliver the goods, and I’m done
E. Pluribus
And having declared the Beatles as masters of this, I would suggest Rubber Soul (extended to include We Can Work It Out/Day Tripper) as the summit of their achievement, with killer middle eight/bridges in Norwegian Wood (“She told me she worked in the morning…”), You Won’t See Me (“Time after time your refuse to even listen…”, although perhaps the repeat of the bridge was going to the well once too often), Girl (“She’s the kind of girl who’ll put you down…”), I’m Looking Through You (“Why, tell me why, did you not treat me right…”), In My Life (“Though I know I’ll never lose affection…”), and Wait (“I feel as though you ought to know…”), and, of course, We Can Work It Out.
And one great Dylan bridge I will throw out there is the one in “Tonight I’ll Ne Staying Here With You.”
ZZ Top ROX!
Herman’s Hermits SUX!
C’mon Hrundi,
You can do better than that. I’m through with the insults. Take a minute or two, and tell me about your favorite break and why it kicks ass. And please come up with something better than “When I Get Home”. Good enough for what it is, but probably just a punch the clock job for Lennon and McCartney.
Years ago, I got you to open up about your fascination with ZZ Top, and it was a real eye opener. Not to belitte you, but I have similar tastes due to my fascination with my older brother.
I’m through with the jabs. Give me something good.
E. Pluribus
Ugh. There are zillions of great bridges, and I’m supposed to choose just *one*? Here’s a good one, though:
“Maybe ifff… we wish and hope and think and pray, it might come true…”
from “Wouldn’t It Be Nice.” The “run-run-ree-oooh” vocal harmony bit that comes after that line just gives me chills every time I hear it. And this bit of tenderness and vulnerability leads right back into a nice, whumping pre-outchorus, full of drive and gusto.
Given your disdain for that album, I suspect you’ll find my contribution lacking. Oh, well!
I like the album plenty, but all that rot about it being the highlight of the Beach Boys’ career is nonsense. All the pre “Pet Sounds” car, girls, and California stuff is equally as good, and a lot of it is just downright better. It just bothers me to no end that “Pet Sounds” is held up as their supreme achievement because it resonates better with a large majority of our generations’ rejects who never physically or mentally moved out of their parents’ basements and continue to be baffled by the public’s inability to understand their so called genius.
E. Pluribus
P.S. Does anybody know anything about a band called “Miniature Tigers”. My older daughter appears to be enthralled with them.
On the whole, I think “Beach Boys Today!” is their best.
“Wouldn’t it Be Nice” was a contender for me, hrrundi. Don’t let that crank EPG get you down. He just wants to help.
misterioso, you have definitely hit on the Golden Age of Beatles’ Middle Eights!
The break right after the solo in Sleater-Kinney’s “You’re No Rock and Roll Fun” is one of my all time favorites–the whole song downshifts with Carrie Brownstein taking some 60s soul style guitar lines before revving back up to speed. If you don’t have it, you can get it here: http://www.sleater-kinney.com/downloads.html
Point of clarification – so the middle eight is the bridge? The C in a ABABABCAB pattern?
And is it my imagination, or are there often pauses before these middle eights?
Ooh, that’s a good one, bostonhistorian! The first one that came to mind for me was Out of the Blue by Roxy Music. I don’t think most songs I like have those. Most of them just have verses and choruses, which is good enough for me.
Maybe that’s why I don’t care much for The Beatles. They do it in every song. If the one in We Can Work it Out is that much better than the one in Rocks Off, at least Rocks Off doesn’t make you suffer through the meat of We Can Work It Out to get to the amazing break. It seems like an easy way to paste an idea you couldn’t work out into a whole song to be useful sometimes to me.
2000man,
You and the Moderator have more in common than I thought. His insights concerning “We Can Work It Out” are very similar to yours. And he too would take “Rocks Off” over “We Can Work It Out”.
Just curious -what are your other beefs with the Beatles? I thought such a thing was impossible. Your two cents are certainly welcome with me. Anyone who acknowledges the power of “Now!” certainly has something worthwhile to offer.
By the way, right after “Aftermath” was released, Ringo constantly referred to it as “Afterlunch”, much to his buddies’ delight. I too think that’s pretty funny. Do you find any humor there?
Hope to hear from you soon,
E. Pluribus
epg:
Well, at least you stick to the musical evidence and refrain from arguing against a straw man.
ePlurb, I don’t really have a beef with The Beatles, per se. I think Revolver is one of the best things that ever happened and Rubber Soul is pretty cool. I’ve got that blue Greatest Hits album (with blue labels – I wore out my old Apple label one when I was a kid) and it’s good. They’re kinda cute though. I think my grandma liked them more than me, and my dad hated rock n roll, but boy, dad sure did like The Beatles!
They also have all those dance hall and novelty types of songs. I know, music should be fun and I say that all the time, but there’s a fine line between fun and completely uncool and they cross it far too often for me. I suppose I can understand Mod’s wanting Exile to be an ep, because when I look at Sgt. Pepper, I think it would have worked nicely as a three song 45 (like that Brown Sugar/Bitch/Let It Rock single). Wouldn’t Lucy in the Sky/She’s Leaving Home/A Day in the Life really be all you need?
I won’t discount all they did. I was alive when they were working, and even as a little kid, I knew The Beatles were the biggest thing on the planet and I know they were the number one game changer. I just like The Stones and The Yardbirds a lot more.
I like their really early stuff, too. It’s just good straight ahead rock n roll.
Of course Ringo’s comment is funny! Wasn’t that his job? Make jokes so no one would notice they let him sing? Actually, the more I think about it, I kind of don’t get it. Did he think they should have let Charlie sing?
Kind of shocked to see all of the Beatles suggestions but not a single nomination for what I consider the A-Bomb of Rock:
If I were you, I’d realize that I
Love you more, than any other guy.
And I’ll forgive the lies thaaaat I
Heard before, when you GAVE ME NO REPLY!
Just an amazing moment in music with perfect execution. Elevates teen dramatic angst to the ultimate level, while pulling off this balancing act where the singer finally manages to pull himself together long enough to make this important declaration while still not actually having a spine – sort of a counterpoint to how devious the guy is in “If I Fell”. I can’t really imagine what it must have been like to hear Beatles For Sale for the first time back in 1964 with “No Reply” racing out like that, only to reveal an extra gear when it hits the middle eight.
Another great example of that “surprise extra gear” version of the middle eight: Nesmith’s “You Just May Be The One”. The whole song is maybe two minutes long and doesn’t have time to slow down, but the “I saw when you walked by…” part just finds that one last level to hit.
The middle eight in “You Just May Be the One” is an EXCELLENT off-the-beaten-path suggestion, alexmagic!
Just catching up on other threads, and the Petty one reminded me that Petty’s finest moment is the middle eight/break on “Don’t Do Me Like That”. It pretty much carries the song, and his ability to write that (in conjunction with his skills as an actor) alone puts him above Bryan Adams.
Clearly the greatest break ever written was in Crock O’ Shit’s “(I Still Drive) My Mother’s Car”. The back and fourth between “the mother’s” harangues, such as, “Junior, did you vacuum the front lawn”, and “the son’s” increasingly anguished, “Yes, mom” responses. The building of tension is nearly unbearable. Goosebumps. It’s really quite breathtaking. Chicken coulda taught Lenin/McQuickly a thing or three about songwriting, I tell you what…
[Note: I’m calling it a ‘bridge’ dammit cuz James Brown did] I had to think about this some..I echo some previous commenters regarding the Who–I even like the bridge (and pauses!) in Anyway, Anyhow, Anywhere. But I think my favorite bridge (and I’m not sure this counts as I’m talking about a blues tune and not a strictly pop/rock tune) is in the Yardbird’s Here ‘Tis. They slowly change the rhythm so they end up with a dotted note shuffle and then go through the verses of Humpty Dumpty for some reason using a completely different melody. I always thought it was the coolest thing ever and still do. They end by shifting back into regular cut time London-style blues and tear up the place for the end.
As far as the hints at Beatles vs Stones going on above, I’ll take the Beatles every time but I’m sure that’s been discussed WAY too much at RTH. Thank you and good night.
Good Call on Goin’ Mobile, but my favorite is “Gettin’ In Tune” where Daltrey takes over for the Bridge.
“I’ve got it all here in my head
There’s nothing more needs to be said
I’m just bangin’ on my old piano
I’m getting in tune to the straight and narrow”
World Party used the exact same Bridge/middle 8 in “Sunshine” same chords, ,melody and almost same lyric
“I keep geting caught in the rain, fooled again and again,I start acting like there’s no tomorrow, Drowning in a sea of Pain and sorrow”
The most extreme one is “A Day in the Life” Paul’s bridge is such a musical contrast.
“woke up….”
Love that “Gettin’ in Tune” middle eight too, jungleland2! Over the years that’s become one of my favorite songs on an album I thought I’d burned out by 1983. I know that World Party song, too. I’d never made that connection.
The bridge in I’m In Love by the Rutles us pretty great: “Anytime of the day I can see her face when I close my eyes.”
http://www.zappinternet.com/video/jeyRmeDfoD/www.adnstream.tv
Hrrundi mentioned “Wouldn’t It Be Nice” which is.. nice but for a Wilson tune, you can’t beat “Good Vibrations” for the Middle 8/Break. “Gotta keep those lovin good vibrations a-happenin’ with her”
Don’t know if it is up the with a Beatles Middle 8 though. I believe the “Oh how long will it take” part in Baby’s in Black counts as a Middle 8, yes?
Do Middle 8’s always have 8 measures? I just listened to Husker Du’s “The Girl Who Lives On Heaven Hill” and was happy to hear a nice bridge of 8 in the guitar-god style.
Dylan isn’t much for middle eights but there is a run of four consecutive songs on Blonde On Blonde (Just Like A Woman, Most Likely You Go Your Way, Temporary Like Achilles, Absolutely Sweet Marie) with them which always stood out to me.
Al, you are right on target! The middle eight sections in “Sweet Marie,” in particular, are great, and on “Just Like a Woman” (“it was raining from the first…”) it is key to the success of the whole song.
The one in I Threw It All Away (“Love is all there is/It makes the world go ’round/Love and only love/It can’t be denied/No matter what you think about it/You won’t be able to do without it/Take a tip from one who’s tried”) is pretty awesome too.