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Spoken Word in Music
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Studio recorded music sometimes contains barely audible pieces of lo-fi recording. This may be used for an intro or outro, or it might be used to make a long instrumental sequence more interesting. This generally is done by tacking on spoken word recordings. So what counts? It should fall into one of these categories: The bit was recorded by someone other than the original artist at the time of the recording. The bit is created by the original artist, but likely recorded separately from the song (this is where Pink Floyd and experimental music gets confusing.) The bit is from radio or television, or other media. And of course, it has to be spoken word. It does not include hidden tracks and outtakes. It doesn't include noise from live performances. As always, feel free to rework any of this. A variant of this is used in classical vocal works, especially those of the Baroque era. Such works are broken up into movements, some of which are recitatives, or spoken sequences as opposed to the singing in the rest of the work. Occasionally, longer recitatives may have singing, but for the most part, recitatives are just spoken parts with added musical accompaniment to emphasize the ends of sentences. Compare Sampling and Voice Clip Song. Examples |
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Spoken Word in Music / int_11e6bf74 | type |
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Sonic the Hedgehog CD has the Metallic Madness Bad Future mix which has robotic lyrics from a distorted Synthetic Voice Actor discouraging the player from going further. | |
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Dream Theater uses this a lot. About a third of their songs have either spoken word sections or sound samples from movies or something. | |
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One classic example would be Darkthrone's "Snø og granskog." The lyrics are spoken, and actually a recitation of a poem by Tarjei Vesaas. | |
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The Velvet Underground has "The Gift", which presents the band jamming in the right speaker, while in the left speaker violinist John Cale reads a short story written by Lou Reed for a creative writing class in college, featuring some Black Humour. | |
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Blind Guardian has these between several songs on the Concept Album Nightfall in Middle Earth, presumably to make it easier to understand what each of the songs is about - though it still probably won't help much if the listener hasn't read The Silmarillion. | |
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Metallica brings us the "Now I Lay Me Down To Sleep" prayer in the middle of "Enter Sandman", and the monologue/freeverse poem at the end of "To Live Is to Die" | |
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Combined with So Bad, It's Good, this is essentially the basis for William Shatner's musical career, especially his cover of "Lucy in the Sky With Diamonds". | |
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The Revolution Will Not Be Televised by Gil Scott-Heron is a groundbreaking album that influenced rap, despite being nothing of the sort. It's just Scott-Heron dictating poetry, with some percussion in the background, but sounds awesome! | |
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Mark Wills' "And the Crowd Goes Wild" has snippets of sports play-by-plays done by George Plaster before the final chorus. | |
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Stars' "The Woods" features samples from Grey Gardens, specifically "Little Edie" Bouvier Beale talking about accidentally dropping her scarf off the porch and into the massively overgrown backyard ("It's a sea of leaves, s-sea of leaves... if you lose something you can’t find it again, lost at the bottom�). Also by Stars, from the beginning of "Your Ex-Lover Is Dead", "When there's nothing left to burn, you have to set yourself on fire." Apparently a recording of one of the band member's fathers. Doubles as an Album Title Drop since it's the opening track on the album Set Yourself On Fire. The band did the spoken-word title drop again on the song "The Theory of Relativity," from the album The North, which begins with a voice saying, "Well, the only way I see this happening is in an extended ride north." |
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The Bonzo Dog Band used speech a lot, beginning their song "Shirt" with a lengthy man-on-the-street interview, and using nothing but in "Rhinocratic Oaths", as Vivian Stanshall narrates four very odd slice-of-life stories. | |
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Wish You Were Here begins with the sound of an AM radio flipping through the stations until it settles on a station playing the beginning of "Wish You Were Here". Then the "listener" begins playing along (this is where the second guitar comes in). | |
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Elvis Presley: Arguably the most notorious, yet atrocious concert album in his career is Having Fun with Elvis on Stage, a 35-minute collection of nothing but Elvis cracking jokes with the audience, without any music or context of what is going on? Not only is the record painfully unfunny, but a lot of it is technically not even a joke, just Elvis saying random things in interaction with his audience. Half of the time he is clearly just rambling, before deciding his jokes are falling flat or his story isn't going anywhere. | |
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"Fantastic Fabulous" by Luscious Jackson has Deborah Harry on guest vocals, and it also includes a sample of an answering machine message from her about singing the song itself: | |
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The Mechanisms' Rock Operas alternate sung tracks with spoken word tracks that clarify the narrative. Some of their longer stand-alone songs switch back and forth in a similar way in one track. | |
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Spoken Word in Music | |
Spoken Word in Music / int_2efe2ab0 | comment |
Isaac Hayes' landmark album Hot Buttered Soul featured a cover of "By the Time I Get to Phoenix" that turned this trope into an art form. The song itself follows a man, having just left his wife, describing what he thinks she will be doing as he reaches certain destinations by car. Hayes turned this three-minute country song into an eighteen-minute soul epic, including an eight-minute spoken introduction of how the man came to his decision to leave his wife. | |
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Shpongle's Vapour Rumours heavily samples a newscast from The Outer Limits (1963). | |
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65daysofstatic utilized this in many of their earlier songs, best exemplified from their song "Retreat! Retreat!": | |
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"The Necromancer" by Rush starts with the narration of the story of Prince By-Tor, spoken by Neil Peart (possibly with an edited voice). Also, "Countdown" includes snippets of radio talk from a Space Shuttle launch. "Double Agent", from the Counterparts album, contains lyrics spoken instead of sung by Geddy. The end of "2112" has "Attention, all planets of the Solar Federation ... We have assumed control" repeated as if from a speaker, several times, supposedly suggesting that the song's hero eventually led a successful uprising against the Temples of Syrinx. The title word in "Subdivisions" is spoken in the song's chorus. |
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Beck uses this on occasion - "Where It's At" features several clips from a Totally Radical 70's sex education record ("We're all part of the total scene!"), while "Truck Drivin' Neighbors Downstairs" starts with two men engaging in a Cluster F-Bomb filled drunken shouting match. Scarily enough these are the actual downstairs neighbors the song was written about - they were being so loud he accidentally picked up their argument on his four-track while trying to record home demos. The b-side "Zatyricon" is probably his most extensive use of the trope, as the vocals consist entirely of prank calls to cosmetic surgery practices made by Tony Hoffer (who was a member of Beck's backing band at the time). |
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Van Morrison plays with the idea on tracks like Rave On John Donne, and especially on the Sense of Wonder album. This is as near as he gets to rap; Sense of Wonder incorporates lyrical nostalgia for a Belfast upbringing, and a later track involves Morrison reciting a William Blake poem set to his own music. | |
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Panchiko's "D˃E˃A˃T˃H˃M˃E˃T˃A˃L" samples Burning Rangers, though the clip they used is never heard in-game: if you were to insert the Burning Rangers disc into a conventional audio CD player and press play, you would hear one of the game's voice actors reading a warning not to do that lest you damage your stereo equipment - the band cut up and looped part of that audio and used it in place of an actual sung chorus: | |
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The nonsensical song "Chicken Bone" from Cowboy Bebop is peppered with various sound effects and voices, such as a bullet ricochet. They're very faint, and hard to completely decipher through the lyrics and music. They're not listed in the lyrics either. Among them is a doctor saying "Proceed with the operation" and a villainous voice giving an Evil Laugh followed by "DESTROY!" | |
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"Girl Of An Age" starts with a sample of Ernie from Sesame Street: "Okay Bert, I'll clean it up so clean you wouldn't recognize it!" | |
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"Divorced", the Melvins' collaboration with tool, splices in a phone conversation between Maynard James Keenan and Buzz Osborne, apparently regarding a mutual friend going out with a woman who Maynard describes as having "a voice like a fuckin' modem, dude!". "Hog Leg" starts with a heavily quotemined Pat Robertson sermon ("Christians are commanded alcohol is good"). "Laughing With Lucifer At Satan's Sideshow" is entirely simulated phone calls over an instrumental track. The song is basically a Take That! to a former record label, including quotes like "You should consider yourself lucky, any other label would have dropped you by now". |
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"Medicine Show" features audio clips from A Fistful of Dollars ("Get three coffins ready") and The Good, the Bad and the Ugly (the "Wanted in 14 counties of this state ..." speech). | |
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Guns N' Roses has done this once or twice - most notably, their song "Civil War" from Use Your Illusion opens with a soundbyte from Cool Hand Luke and, during an instrumental segment plays a rather chilling sample from an anonymous Peruvian militant general. ("As popular war advances, peace is closer.") In the song "Madagascar" from their newest album, they reuse the Cool Hand Luke soundbyte, along with others. |
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"If I Had..." from The Slim Shady LP is delivered as Eminem reading a poem he's written ("'Life', by Marshall Mathers"), rather than 'rapping' in a strict sense. | |
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Bryan Duncan with ShineMK's "Left Behind" from the LEFT BEHIND: The Movie soundtrack album has a voice in the instrumental intro saying "There's always the possibility". | |
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Trace Adkins' "Rough & Ready" opens with him saying "Yeah. All right, boys, follow me. Mostly in A. Stay with me now. Listen up, this is philosophical." Then again at the end: "That's me and my buddies. We're all just alike. We say, 'hey, y'all, watch this!' Well, that didn't turn out too good. You okay? Yeah... What are you lookin' at? Yeah, that's a real gun in that gun rack. No, I don't have a permit for it. You got a permit to ask stupid questions like that? Gonna get hurt, boy." along with singer name drops of session musicians Jonathan Yudkin and Gordon Mote before their respective solos. | |
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Cormorant have a few examples along with some Sampling, but the most noteworthy example is the bridge of "Scavengers Feast" which not only has many people reciting passages but in different languages too. | |
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Spoken Word in Music | |
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Starship's "We Built This City" had a DJ (Les Garland) speaking typical things you hear on the radio during the latter half of the song before the final chorus. | |
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Spill the Wine by War (Band) contains both a lengthy introduction and interlude which describes the singer-narrator's dream/psychedelic trip/erotic fantasy. | |
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Some songs from The Dark Side of the Moon include samples of people talking, who were answering questions such as "When was the last time you were violent?", "Were you in the right?", "Are you afraid of death?", or "What is the dark side of the moon?". Among the people interviewed were: Wings bandmate Henry McCullough (who supplied the "I don't know, I was really drunk at the time" heard in the segue between "Money" and "Us and Them"); Roadie Chris Adamson (the Precision F-Strike in "Speak to Me": "I've been mad for fucking years..."); The band's road manager Peter Watts (whose crazed laughter is heard in "Brain Damage" and "Speak to Me"); Watts' wife Patricia (who says "I never said I was frightened of dying" in "The Great Gig in the Sky" and describes a violent encounter in the segue between "Money" and "Us and Them": "that geezer was cruisin' for a bruisin'"); Roger "The Hat" Manifold (who appears in "Us and Them" and says "live for today, gone tomorrow, that's me. HAHAHAHAHAHAHA" in "On the Run"); and Abbey Road Studios' doorman Gerry O'Driscoll, responsible for some of the more iconic quotes (the second one in "Speak to Me" about being mad, the line that ends the closing track "Eclipse", and the discussion about death in "The Great Gig in the Sky"). Paul McCartney and his then-wife Linda were also interviewed, but their answers were considered generic and/or trying too hard to be funny, so they were left unused. |
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The verses of Nada Surf's "Popular" are spoken adaptations from a 1964 "Guide to Teen-Age Charm and Popularity." By the end of the song, the singer is shouting the words. | |
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Roger Waters' Amused to Death, which revisits the style of his material with Pink Floyd, includes both snippets of TV broadcasts relevant to the album's themes and a monologue performed by Charles Fleischer in-character as a Greedy Televangelist. | |
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Songs In The Key of X, a tie-in album to The X-Files, includes a version of "Star Me Kitten" by R.E.M. and William S. Burroughs - rather than a direct collaboration, it's just an instrumental version of "Star Me Kitten" from Automatic for the People with Burroughs reciting the lyrics as poetry. | |
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The final track of Avenged Sevenfold's seventh album The Stage is concluded by a 3-minute speech from Neil Degrasse Tyson over a repeating synth melody and an ever-changing drumline. To a lesser extent, "The Stage" and "Simulation" on the same album have characters talking in the background between the verse and the chorus. | |
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Liberate by Disturbed features the lead singer quoting the book of Isaiah during the bridge: "Out of Zion shall come forth the law (Isaiah 2:3) And the word of the Lord from Jerusalem (Isaiah 2:3) Nation shall not raise sword against nation (Isaiah 2:4) And they shall not learn war anymore (Isaiah 2:4) For the mouth of the Lord hath spoken (Isaiah 1:20)." | |
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"Ask for Janice" from Paul's Boutique by Beastie Boys has a female receptionist talking. Check Your Head includes a few songs that start or end with spoken samples. "The Maestro" is an interesting case because its spoken intro is indirectly related to the above example: "Ask for Janice" included a real phone number that was out of service at the time of release, but the band soon got the phone number registered themselves and hooked it up to an answering machine, with an outgoing message claiming that it was the number of a clothing store called Paul's Boutique. One fan left an angry message, seemingly peeved that he didn't get to speak to the Beasties personally. They apparently managed to find the fan and get his permission to use his message as an intro to "The Maestro": Early single "Cooky Puss" is full of this - the vocals are primarily clips of the band prank calling a Carvel ice cream store, along with some scratching of a Steve Martin comedy album. |
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The end of "2112" has "Attention, all planets of the Solar Federation ... We have assumed control" repeated as if from a speaker, several times, supposedly suggesting that the song's hero eventually led a successful uprising against the Temples of Syrinx. | |
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"Selfish" by Ned's Atomic Dustbin includes a repeated sample of Reginald VelJohnson from Die Hard ("Why don't you wake up and smell what you're shovelin'?"). "What Gives My Son?" has a couple of different samples of fathers yelling at their sons to get a haircut and a job ("you want to be a bum all your life, be a bum, but not under my roof!"). They both seem to come from different movies or shows, but no one seems to have figured out the original sources. |
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Negativland's infamous "U2" EP consisted of 2 versions of an instrumental/spoken word track which combined samples of "I Still Haven't Found What I'm Looking For" by U2 with a profane rant by American Top 40 disk jockey, Casey Kasem. | |
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"Yellow Submarine" from Revolver has some speech and submarine sounds in it: "Full speed ahead, Mr. Parker, full speed ahead!" | |
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"Scooby Snacks" by Fun Lovin' Criminals extensively uses dialogue clips from Pulp Fiction and Reservoir Dogs. Enough so that they had to credit Quentin Tarantino as a co-writer and give him 37% of the song's royalties. | |
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The intro to "Dice of a Generation" features a segment from Network that sets the tone for the rest of the track. | |
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"My Strange Addiction" by Billie Eilish includes several clips from The Office (US) episode "Threat Level Midnight" - one of the lines coincidentally mentions a first name that's a homophone of the artist's, sort of turning it into a Singer Name Drop ("No, Billy, I haven't done that dance since my wife died"). | |
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"Ma Baker" by Boney M. does this three times. It starts with a clip of Ma Baker during a stick-up, then in the middle of the song is a news bulletin from the police asking for any information on Ma Baker's whereabouts, and this is followed by a second clip of Ma Baker. | |
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In the song "Madagascar" from their newest album, they reuse the Cool Hand Luke soundbyte, along with others. | |
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At the Drive-In's "Enfilade" starts with a simulated ransom phone call, fitting its lyrics about a kidnapping. The "caller" is Iggy Pop, who also made a sung guest appearance on a different song on the same album: | |
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Sound Horizon's works, which albums tell stories through singing, narration, and characters speaking. Since their major debut, they have also invited mainstream voice actors to speak lines, such as Norio Wakamoto, Hikaru Midorikawa, and Marina Inoue. | |
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The soundtrack album for Give My Regards to Broad Street includes sound bites of dialogue from the film, which are not always directly connected to the songs they're attached to. | |
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"Double Agent", from the Counterparts album, contains lyrics spoken instead of sung by Geddy. | |
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Poison Idea's "The Badge" is bookended with dialogue sampled from Taxi Driver. When Pantera covered the song, they went so far as to use the exact same clips. | |
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The Cowsills' "The Prophecy of Daniel and John the Divine" contains a spoken word section. | |
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George Michael's "Too Funky" begins with a snippet from Anne Bancroft as Mrs. Robinson from The Graduate: And at the end, a line from The Tony Hancock Show episode "The Radio Ham": |
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Armageddon: The Album uses Aerosmith's "I Don't Want To Miss A Thing" as musical Bookends... but the second time it appears, under the title "Animal Crackers", Steven Tyler only sings in the beginning and ending - the rest of the vocals consist of clips of dialogue between the characters A.J. and Grace, with the track title coming from a Seinfeldian Conversation in which A.J. argues that animal crackers don't qualify as "crackers". | |
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"The Staleness" contains multiple quotes from Killer Klowns from Outer Space. | |
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Madness' Cover Version of "Lola" by The Kinks was originally meant to be sung the whole way through, but a problem in the studio resulted in Suggs speaking the last lines of the song instead. | |
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Islands' "Volcanoes" starts with a very strange monologue from someone who introduces himself as Oscar, claiming to be a demon and warning that the world will end in 2007 (the song being released in 2006). This was taken from a Coast to Coast AM caller - Nicolas Thorburn happened to hear this call on his car radio late one night, and it inspired the song's lyrics, which deal with the world ending due to natural disaster. | |
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Some of the songs recorded by Parachute Express has spoken dialogue recorded by the band members themselves. | |
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"Sheep" from Animals contains a vocoded parody of Psalm 23 ("When cometh the day we lowly ones, through quiet reflection and great dedication, master the art of karate...") | |
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Occurs in a few Stratovarius songs. "Visions (Southern Cross)" (from Visions) has someone reciting the verses of Nostradamus's prophecy on which the song is based. The live recording of "Hunting High and Low" opens with a deep voice saying "Welcome... to the soul... of... Stratovarius!" "Dreamspace" (from the album of the same name) features a creepy little girl's voice in the middle of the song. (She says "Who's there? ...Mother? I'm losing my mind...", followed by evil laughter.) The otherwise-instrumental "Metal Frenzy" (from Twilight Time) starts with someone counting "1, 2, 3, 4!" and ends with maniacal laughter. "I'm Still Alive" (from Elements Pt. 2) ends with a conversation between what is presumed to be two of the band members (though it's hard to make out what they're saying). Strangely enough, they're speaking English, even though the band themselves are Finnish (though at the time they had a Swede and a German as part of their lineup). "Back to Madness" (from their self-titled album) ends with a long, surreal and mildly-creepy spoken word section (which sounds like it's done by the same person who did the spoken-word sections in "Visions (Southern Cross)", judging by the similar-sounding voices). "Event Horizon" (from Elysium) ends with an automated voice warning about an approaching black hole, with warning sirens playing over it. |
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The Information Society song "What's On Your Mind" had snippets of Mr. Spock saying "pure energy" from a Star Trek: The Original Series episode. | |
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Deltarune has Spamton's theme and his two boss themes, NOW'S YOUR CHANCE TO BE A and BIG SHOT: while the former two have a funny voice saying "Now's your chance to be a big shot! Be a big - be a big - be a big shot!", the latter adds muffled lyrics interpreted as someone asking a salesman what they're really selling. | |
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Bomb the Bass' "Beat Dis" includes samples from Thunderbirds and Dragnet. | |
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Most of the songs on Bastille's Wild World album include a spoken word part, whether in the beginning or middle. This isn’t even all of the examples from the album: "Good Grief" begins with a clip of Kelly LeBrock from Weird Science: "So, what would you little maniacs like to do first?" “Fake It�: “And I don’t think that’s a selfish want, I really don’t. I'm not saying that I have this capacity, because it's hard to develop that capacity on your own when you're being stopped at every turn�, from the 1971 short film Changing. “The Currents�: “When anybody preaches disunity, tries to pit one of us against the other, you know that person seeks to rob us of our freedom and destroy our very lives!� from the 1948 cartoon Make Mine Freedom. “Warmth�: “When the event happens, there is little time to think of those things that people would like to have remain private. Getting caught up in the circus-like atmosphere, feeling less responsible to conventional ethical practices", from a video about the media made by the Department of Justice. “Send Them Off!� has two: “It was a slight on my honor, so he deserved it. But we're talking about the most brilliant mind this world's ever seen!� and “Your mind exists somewhere altogether different; it lives in a world where feelings simply cannot be defined by words�, both inspired by Cosmos, a 1977 Italian sci-fi film. Easily the most effective is “Four Walls (The Ballad of Perry Smith)�, a song about executed criminal Perry Smith and what the days leading up to his execution may have been like. It ends with a recording saying “This is a collect call from Kansas State Penitentiary- Being brought up one way and trying to see another way is very difficult…� |
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Steel Pole Bath Tub frequently used television and movie clips in songs; "Train To Miami" uses a sample of Jack Nicholson sneering "yeah, yeah, yeah" from Five Easy Pieces for instance. When they put out their major label debut they were specifically cautioned against doing this by the label's legal department. | |
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Butthole Surfers does this quite a bit. "22 Going On 23" has extensive excerpts from a psychiatric call-in show the band members listened to regularly, while "The Last Astronaut" consists of someone playing an astronaut speaking to Ground Control as he realizes something disastrous has happened on Earth. | |
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"Scary Picture Show" by Riot Squad opens with a line from Night of the Comet: "Let's play a game! It's called 'Scary Noises'." | |
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Apollo 440: The lyrics of “Diamonds In The Sidewalk� are a recording from Jack Kerouac, reciting the 228th chorus of his poem "Mexico City Blues". “Love Is Evil� uses clips from a speech by philosopher Slavov Žižek. “Fuzzy Logic� begins with Robert Anton Wilson describing an exercise taught by a Buddhist monk, as described in one of Aleister Crowley's books. |
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Hobo Johnson's entire style is inspired by spoken word poetry, and many songs include vignettes of him just talking about a subject tangentially related to the main song. | |
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"ABC" by the The Jackson 5. | |
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Nightwish: "FantasMic", the seven-minute-long Epic Rocking nerdgasm about the Disney Animated Canon, has a sound clip from Beauty and the Beast in the middle of it. "Creek Mary's Blood" (from Once) features a poem in Lakotan, spoken by John Two-Hawks. "Dead Gardens" (also from Once) has a spoken-word section performed by Tarja Turunen. The track "Once" opens with a few spoken lines. The second half of "Song of Myself" from Imaginaerum is entirely made up of these. "Scaretale" from the same album has a brief moment of Marco Hietala imitating a circus ringmaster. "The Greatest Show On Earth" from Endless Forms Most Beautiful has a spoken-word part performed by Richard Dawkins. |
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Cattle Decapitation: The various transition tracks from Death Atlas ("Anthropogenic: End Transmission", "The Great Dying, Pt. 1", "The Great Dying, Pt. 2" and "The Unerasable Past") feature spoken dialogue styled like the scripts of news reporters on television. The dialogue is about the worries of what's to come for the end of the world as caused by humanity. | |
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Pretty much every song by The Ink Spots features a monologue in deep bass tones, often while repeating the verse or chorus in a slower, more intimate, romantic way. Parodied with the Spike Jones cover of "You Always Hurt the One You Love", where the monologue interrupts the singer and starts embellishing the lyrics so much ("the, uh.... well, the very... kind of a sort of a heart...") that the song almost grinds to a halt.note Ironically, not only was that the one song they hadn't covered at the time — the tune was more closely associated with The Mills Brothers — but when Charlie Fuqua's Ink Spots finally did cover it decades later, it was in a lighter, more lively jazz tempo with instrumental solos and no monologue, as the group had by then discarded the format. | |
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The Partridge Family's "Doesn't Somebody Want to Be Wanted" contains a spoken word section. David Cassidy found the passage so embarrassing, he refused to do it at first, and shooting of the show stopped so his handlers could put pressure on him. When he finally caved and recorded the song, he begged the record label not to release it. | |
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Sonata Arctica have also done this occasionally. "...of Silence" (from Silence) is entirely spoken-word and instrumental. "The End of This Chapter" (also from Silence) starts off with a phone call between the stalker main character and his ex. Includes a bit of Gratuitous French (part of which is repeated in the song proper). |
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Robert Fripp's 1979 album Exposure featured several tracks with extraneous speech mixed with the music: "NY3" includes the tape of a quarrel by the three neighbors next to Fripp's apartment in New York one night. They were so loud that they kept him from sleeping, so he got up and recorded their voices, and later added music around them. "Exposure" (a Cover Version of a song he co-wrote and produced for Peter Gabriel's Scratch) and "Water Music 1" include excerpts from J.G. Bennett's inaugural address at Sherborne House, the International Academy for Continuous Education. (The complete 40-minute address also appears as a track on the album, condensed into only 3 seconds of white noise.) "Disengage" includes a tape of Fripp interviewing his mother. |
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The soundtrack to Head (edited together by Jack Nicholson, of all people) contains many examples of this, most notably "Swami – Plus Strings, Etc." | |
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Cake's "Thrills" is what seems to be an old-time sermon set to music, quite good actually. | |
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The Divine Comedy uses this quite a lot. Generation Sex has clips from Katie Puckrik on a talk show, Becoming More Like Alfie contains a clip from, well, Alfie and The Certainty Of Chance has Neil quoting La Dolce Vita. There's also Dexter Fletcher's contribution to "Here Comes The Flood". He continues this with future songs, including To Die A Virgin starting off with an appropriate exchange from The Camomile Lawn. Taken to the extreme in The Lost Art of Conversation, where the end of the song is comprised of near-indecipherable conversation between groups of people while the music plays out (even at live shows, he encourages the audience to start talking to one another as the song ends). Their album Promenade is rife with this. The album begins and ends with this trope; the first track, "Bath", opens with Neil quoting from the hymn Our God, Our Help in Ages Past, and the final track, "Ode to the Man", is a recording of Micheál Mac Liammóir reciting one of Horace's odes (taken from the British film Tom Jones). "The Booklovers" and "When The Lights Go Out All Over Europe" use clips from Audrey Hepburn and Breathless respectively, and the last minute of "Don't Look Down" consists of the narrator having an argument with God. |
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Foo Fighters' "Everlong" features some faint and semi-unintelligible whispering over the quiet part of the interlude after the second chorus, supposedly taken from sources including a love letter and a technical manual. | |
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"Hole in my Shoe" by Traffic has a spoken word section by the producer's stepdaughter, where she describes travelling on the back of an albatross to a magical land. | |
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Happens frequently on the soundtrack album for Natural Born Killers - dialogue from the movie will frequently get layered over instrumental sections of songs. A few songs used in the movie were instrumentals, and they tend to especially get this treatment - for example, the track "Totally Hot" is a brief excerpt from the song "Kipenda Roho" by Remmy Ongala with pseudo-Vox Pops interviews from the movie laid over it. | |
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The Wall includes a number of spoken-word passages meant to add onto the filmic nature of the Rock Opera. These include, among other things, Roger Water imitating a Sadist Teacher, Trudy Young portraying a groupie that Pink brings over to his hotel room, and excerpts from The Dam Busters and Gomer Pyle, U.S.M.C.. | |
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In "Keep Talking" from The Division Bell, there's an excerpt from a Stephen Hawking commercial he recorded for British Telecom. Another snippet of audio from the same commercial is used in "Talkin' Hawkin'" on The Endless River. | |
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Other MJ examples: "The Girl is Mine" and "PYT" (both are also from Thriller), "Don't Stop 'Til You Get Enough" (from Off the Wall), "Man in the Mirror" (from Bad), and the album version of "Heal The World" (from Dangerous). | |
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Tom Petty's "Even the Losers" begins with a woman saying, "It's just the normal noises in here." As it turns out, this is the voice of Heartbreakers guitarist Mike Campbell's wife, Marcy, as accidentally captured on one of his home demos: She was responding to him complaining about a loud washing machine disrupting his recording. The band found it amusing and decided to put it in the song. | |
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Vylet Pony: There are a few instances on Carousel (An Examination of the Shadow, Creekflow...): The skit-like intermission "How to Talk to Your Shadow?" is entirely spoken word. "Hush!" introduces itself with rapid-fire slam poetry. |
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"I Am The Walrus" from Magical Mystery Tour features a few lines from a BBC Third Programme broadcast of King Lear. | |
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A Momentary Lapse of Reason features Nick Mason reciting a brief monologue about the death of innocence partway through "Signs of Life" and providing radio chatter during the instrumental bridge in "Learning to Fly", as well as samples from Casablanca in "Yet Another Movie". | |
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Iron Maiden uses this sometimes, like at the beginning of "The Number of the Beast", "The Prisoner", and the bridge of "Rime of The Ancient Mariner", which directly quotes the Coleridge poem. | |
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"I Lost On Jeopardy:" "That's right, Al, you lost. And let me tell you what you didn't win..." Courtesy of original Jeopardy! announcer Don Pardo. | |
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Houkago Climax Girls, an idol group from THE iDOLM@STER: Shiny Colors, features this in their song "Cat Squad". After about four minutes of a completely normal song for them, it seems to end...except it fades back in, with the outro section repeating itself, and voice clips showing the girls seeming surprised at having to go over and do the section again. Another short break, and the girls lament over needing to record the ending a third time. After the third time, they congratulate themselves for the hard work and finally getting it all done, seeming very exhausted from the recording. (It's over for real after that, promise!) | |
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"Girl in a Country Song" by Maddie & Tae opens with a male voice saying, "No country music was harmed in the making of this song. This is only a test." | |
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The second hidden track on the Robbie Williams album I've Been Expecting You (officially named "Stalker's Day Off (I've Been Hanging Around)") features two spoken word segments in the form of answering machine messages left by the eponymous stalker on his victim's phone, done by Robbie himself. "Win Some Lose Some" on the same album starts with a woman's voice saying "I love you, baby!" twice, and ends with the same clip played once. "No Regrets" (also from that album) ends with a spoken-word segment by Robbie, which sounds like he gave up on singing and just decided to speak the rest of the lyrics instead. On his album Sing When You're Winning, the hidden track "Outro Message" is a 13-second long track featuring a message spoken by Robbie saying that this album doesn't contain any hidden tracks. The hidden track "Hello Sir" on the album Life thru a Lens is a poem written and performed by Robbie dedicated to one of his old schoolteachers (ostensibly, anyway). |
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UNKLE's "Rabbit In Your Headlights" has a sound clip from Jacob's Ladder in the middle. Also from Outro, "I... I feel... that this has been the most incredible and wonderful thing to have ever have happened... and also the worst. It's... it's a mixed bag. I've been taken to the depths of extreme... terror by this... on the one hand. On the other hand, this experience has been about finding great... joy" On the album Psyence Fiction, the songs "Bloodstain" and "Unreal" are linked by a sample of The Star Wars Holiday Special - specifically the animated segment that first introduced Boba Fett. "Bloodstain" ends with Boba Fett asking "You are alone?", while "Unreal" starts by having him continue "...Maybe I can help you". |
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Peter Schilling's "City Of Night (Berlin)" contains a portion of American President John F. Kennedy's "Ich bin eine Berliner" speech. "The Noah Plan" begins with a spoken intro setting up the situation that the people in the song are facing. | |
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Mike Oldfield's one-song album Amarok caps off with a monologue from Scottish comedian Janet Brown, who performs an impression of Margaret Thatcher. | |
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Parkdean Resorts' Starland Krew has various examples of this. Mostly by Sparky the rabbit and one instance by Andy the prizebox. | |
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Jawbreaker's "Jet Black" starts with a bit of Christopher Walken's One-Scene Wonder monologue from Annie Hall, in which he speaks of a morbid fantasy about deliberately crashing his car on the road ("I tell you this because as an artist, I think you'll understand..."), then continues with more of it during the bridge. Interestingly, in the context of the movie, the scene played as Black Comedy, setting up a one-liner from main character Alvy, and a few scenes later, a Brick Joke where a terrified looking Alvy is his passenger- the song doesn't allude to either and seemingly re-contextualizes it as a straight depiction of True Art Is Angsty. "Condition Oakland" features excerpts from Jack Kerouac's book Lonesome Traveler being recited by Kerouac himself, apparently sourced from a TV appearance. |
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The beginning of the "Yuletide Slegh Mix" of the Jason Donovan song "When You Come Back to Me" begins with this spoken-word monolouge from the singer himself: | |
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The Cole Swindell-Dierks Bentley duet "Flatliner" has Cole say "Tell 'em 'bout it Dierks" before the latter's verse, and the two have a conversation before the last chorus. | |
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