discuss the finer points of sp songs
 

the little extra bass notes in the "forgotten touch/forbidden thought" part of the TEG chorus

the small bits of absolute silence at the beginning or end of each zeitgeist song

" i say, i do like that 'rat in a cage' song"

i know, obvious but i'm listening to it atm..
the solo in soma is like, the most painful, emotionally searing solo you can imagine

james' guitar work in Set the Ray to Jerry.

james played guitar?

:think:

i think so...

sounds like it.

Set the Ray to Jerry

"Another remnant of a distant Siamese Dream past, 'Set the Ray to Jerry' was first written somewhere during the Gish tour. It's always been a band favorite, and seemingly only the band's, because no one ever mentions it. A sweet, simple song featuring only bass, drums, and some delayed James guitar. One night Flood and I put everything we had on a couple of tapes (about 40 songs) and just drove around Chicago until 3:30 in the morning deciding what was on or off the album. When we listened to 'Set the Ray,' it really moved me, but when I looked over to Flood he just shook his head no. That was the end of 'Set the Ray' on the album, because I trust Flood's opinion so much."

the last 10 seconds of "eye"
love that distorted beat

2:28 - 2:44 in WBFTT...the sick guitar work (James?) in the right channel. Adds so much to the song. Have to rewind it several times every time I hear it.

the start and end of Mayonaise

The first minute or so of G+tGC... fucking sweet drum pattern and kickass bassline anchor a psychedelic guitar freakout. I could listen to this and never get sick of it. The first four minutes of this song are, IMO, one of the best things they've ever done in the studio.

i've gotta back up any gatgc appreciation that goes around

the beginning of hummer still gives me goosebumps

the little wah-wah-ed guitar melody at the end of bwbw

my favourite part

Fucking there's a moment in We Only Come Out at Night. Starting at 2:20-2:23/24. There's a little bleepy thing that is just superb.

Definitely almost all of their songs has a little something extra that's a nice addition, but one thing that I noticed recently is during a live performance of Lily (My One and Only), right after BC says "But there's an officer knocking at my door..." you hear Jimmy hit his high hat four times as if knocking. Pretty cool :)

The fade out/outro section of Beautiful, you can hear Billy's emotions pouring through the lyrical delivery:

Haven't seen that as much recently.

Thru the Eyes of Ruby..."My Love for you just can't explain" And then when he says "Why" how it just so forms to the music above it. It's beautiful. And then the outro to that song. "The Night has come, to hold...us...YOUNNNNNNNNGGG" It's magnificent.

I'm also a HUGE fan of the intro to the Speed Kills Single Version. It's so great.

ooh, great choice.

while we're talking about Eye...

the floatly synth part during the "turn to the gates of heaven" line sounds like *warm* to me.

::melt::

The swirly guitar effect at the start of Thru The Eyes Of Ruby

One my favorites. I just love that bass line and the synths. The lead guitar during the "when i ride/with you tonight" section is amazing.

I always liked the end of Whir, when out of nowhere it changes to minor key. Actually, I like a lot of outros. Ruby, Muzzle, Hummer, Drown (full), Obscured...

wah wah guitar at the end of tribute to johnny

I'm not even sure how to describe it but on Mayonaise it always felt as if the "bottom" drops out under the guitars. In fact, I feel that way about most of SD. I would kill to recreate that dreamy destortion on my rig. Also, I think the "I feel free" part of frail and bedazzled is one of my all time favorite SP moments.

the solo in destination unknown has been grabbing my attention lately...