- the key change at the end of country roads, take me home
- the “she loves you, yeah, yeah, yeah” at the very end of all you need is love
- this live version of fix you where the audience overwhelms chris martin in the last chorus and finishes the song
- the part near the end of somebody to love where it climbs and climbs and climbs
- the “dearly beloved” section of jesus of suburbia
- this one line in push: “And I don’t know if I’ve ever been really loved by a hand that’s touched me, and I feel like something’s gonna give”
- “peace up! a-town down! (yeah!)”
- the charango and the flutes and the panpipes in the instrumentation of whenever, wherever
- the fact that we as a society loved kesha’s verse in timber so much that someone, somewhere decided that we could edit out pitbull completely, so that there now exists a version where kesha sings the whole thing herself, and it – as the kids say – absolutely slaps
- the electronic interlude in twrp’s synthesize her
- the fact that i listened to i know i know i know so many times on a music trip my senior year of high school that even now, in my thirties, i still can only associate this one particular song not just with how i felt as a heartsick, disaffected teenager, but with the entire city of chicago, full stop
- the live version of harry styles’ two ghosts that he sang as a duet with stevie nicks
- prince’s guitar solo in the version of while my guitar gently weeps from the rock & roll hall of fame’s tribute to george harrison
- the absolute, unbridled joy that is the entirety of whitney houston’s i wanna dance with somebody
- dolly parton’s cover of stairway to heaven. just – the whole song.
- “i was born in düsseldorf and that is why they call me rolf”
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Expect the unexpected, without anything resembling regularity.
Rach (Out Loud) 