Chuck Klosterman once wrote he was no longer able to answer the simple question “what kind of music do you like?” with a list of artists or bands. For him the answer to that question came in moments of songs that had a distinct feeling. With that in mind, here goes.
I like music that sounds like:
the 32nd second of Aretha Franklin’s “Think” when she goes up three octaves and down three octaves in less than a second and you know her voice is the voice of God.
the exact moment the drums, bass and rhythm guitar come in simultaneously following Rich Robinson’s meaty guitar lick intro on The Black Crowes’ “Twice as Hard.” It sounds like it was launched out of a cannon.
the pure desperation in Paul Simonon’s voice when he screams/begs/pleads to know ‘what have I done?’ in The Clash’s version of “Police on My Back,” and at the same time you know the cops will never give him an answer.
when the strings come soaring in during Vivaldi’s Allegro from “Spring.” It sounds like lovers falling in love all over again. It actually heals the sick.
the air raid siren-esque sound and pulsating drum beat that opens The Human Beinz “Nobody But Me,” one of the single greatest garage songs of the 1960s. It actually forces you to move.
the pure gothic pulse of the piano that forms the staircase Johnny Cash climbs as he reaches the zenith of his cover of “Hurt.” It pains the soul to hear him cleanse his.
the sultry bass intro to Aerosmith’s “Sweet Emotion.” If that isn’t the soundtrack to teenage sex than nothing is.
the cool sophistication of Lee Morgan’s trumpet on the hard-bop masterpiece “The Sidewinder.” It birthed three dozen cliches.
the boiling tension of Howlin’ Wolf’s voice and the razor wire guitar on “Smokestack Lightning.” If you can’t feel cool while hearing that, you will never be cool.
the pure raunchy filth of Rod Price’s guitar riff that fires up Foghat’s “Slow Ride.” If a guitar riff could ever be XXX rated, it’s that one.
Louis Armstrong when he lets out that soft and beautifully froggy “ooooohh yeahhhhh,” at the end of “What a Wonderful World.”
the hand clapping on Fats Domino’s impossibly perfect “I’m Ready.” It sounds like every house party I’ve been to in the Deep South.
the second verse of “99 Problems” when Jay-Z serves this up:
So I…pull over to the side of the road
I heard “Son do you know why I’m stoppin’ you for?”
Cause I’m young and I’m black and my hat’s real low?
Do I look like a mind reader sir, I don’t know
when Butterfly tells me “I’m cool like that,” from The Digable Planets’ “Rebirth of Slick.”
the utter desolation in Miles Davis’ horn that opens “‘Round Midnight.” Aesthetically perfect in every way.
I could go on for days, months even, but I think you get the idea.