Ear-gasms

usually Robert Fripp gives me lots of "ear-gasms" with his guitar>

>examples<

- The first "micro solo" on Fallen angel, after the first vocal line after the solo (sorry I can't explain it better)

- The intro, the melodies, the solo and the short passage in the end on The Night Watch

- The solo on Dinosaur, when it bursts out after the synth oboe part and a few seconds of silence, and the nervous guitar burst at the end

- The lacerating feedback on The Letters, right after the brass section (just rips my soul apart)

- On many songs he uses a particular technique which consists of striking the cords very very fast in the upper register, almost as you would on a mandolin, but three times more aggressively, I call it "the drill" (e.g: the final on 21 century schizoid man, Sailor's tale, The letters, and others I don't remember now)

- The finale to Larks' tongues in aspic pt II

I've had other eargasms with Genesis (on Supper's ready, when PG says "and even though, I'm feeling good, something tells me I'd better-activate my prayer capsule" and the solo starts, or the finale, (I've cried too), the solo by Hackett and the finale to The musical box) and with Yes (in I get up I get down, the choirs and the church organ give me the chills every time)

now that's enough, I'm becoming a bit promiscuous having all these eargasms with all these different people

I reply with a resoundingly loud "YES" to the following:

Tiresias wrote: The angry part on the song Script from a Jester's Tear. The Mellotron on Dancing With the Moonlit Knight

MarkCSigs wrote: When the mellotron kicks back in near the end of "Starless" When Jon Anderson hits that impossible high note at the end of "Heart of the Sunrise"

and adding some of my own:

-in "Easy Money" when the main theme comes back (right after John Wetton doo-doo-doo's for a bit), David Cross does something ridiculously awesome with the violin and it just sounds so perfect

-basically all of "In the Wake of Poseidon" but especially the mellotron and chorus at the end

-the jammy bits of "Ladies of the Road"... and the sweet wistfulness of "The Letters" ... and "Prelude/Song of the Gulls" ... and the muted trumpet solo of "Islands"...OK just all of Islands really.

-the very end of Supertramp's "Crime of the Century". And "Child of Vision". Dang, these guys knew how to end off an album.

-in a word: SOON. But only after the great length and noise of the rest of The Gates of Delirium and everything preceding it. And especially when they switch keys and very suddenly go down a pitch. Oh man. Everytime I have to work and listen to crappy music from dumb singers who don't know when to sing vibrato notes and when not to, I think of Soon and how absolutely bang on Jon Anderson was in that.

-the melody and slow-volume build of Pink Floyd's "On the Turning Away"

-Kerry's voice in "Think of Me with Kindness" when he says "long ago, when first we made our promise - empty words. I wonder did you know -" god there is so much emotion there, 'cause he's usually so soft-voiced, I just didn't expect it and WHAM - then he whacks you over the head

-the piano solo at about 2:05 or so in Banco del Mutuo Soccorso's "R.I.P."

-Mike Oldfield's Ommadawn (part one). All of it's great but especially at about 16, 17 minutes in when the main theme comes back and the drone voices sound just so angry...and then a minute later at 18 mins or so when instead of a closing chord he leaves you with the drums and you just FALL. (Genius!!!)

I can't listen to "Heart of the Sunrise" more than once every two months. Everytime I do listen, after the whole ten minutes and Jon's voice at the end when he hits that high note - I can't do anything, I just SIT there and listen, spellbound. AWESOME thread idea ... I'm so glad more people feel the same way!

Great ones!  A few more ...

When the mellotron kicks back in near the end of "Starless"

When Steve Walsh bemoans "the path that I have chosen now, has led me to a wall ..."

When Jon Anderson hits that impossible high note at the end of "Heart of the Sunrise"

When Peter Hammill (and David Jackson's sax) are screaming so hard it's almost distorted near the end of "Arrow"

"I question ... your innocence" in Kate Bush's "Waking the Witch"

or the act of making your hair stand on end from musical stimuli.  Here's my weaknesses

The slide guitar in Layla by Clapton

"And You and I" opening on yessongs

The part on the Flower Kings song Humanizzimo where Roine is soloing (quote: do-do-doooo-do-do-dooo-do-do-do-do-do-do-do-do-do-do) (ask Man Overboard)

Fly on a windsheild and Chamber of 32 doors.

The guitar solo on Firth of Fifth

The angry part on the song Script from a Jester's Tear.

When the dissonant chords crash on Advent of Panurge during "Take a look around, look around at my friend)

I've cried during the end of Supper's Ready and Through Her Eyes

Lost in the Flood by Springsteen

Parade by Kevin Gilbert

"When your flesh has crystalized..." on BSS

The Mellotron on Dancing With the Moonlit Knight

The heavy riff in back in NYC!! its like a flying elbow to the ovary!!!

"When all the worms come crawling out your head" on L'via L'viaquez

"60 ton angel/falls to the earth" on Porcupine Trees in Absentia

whenever Maynard J. Keenan from Tool screams for 10+ seconds

In one live version of LTIA pt. II, Wetton hits the fuzz bass and makes me cry...

Reingold's bass lines in the lonely road section of 'The Truth'

The mellotron at the end of Saucerful of secrets

" I want to sit down" bit of Stagnation

grrrrr.... I often need to smoke after this stimulation