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New Order - Bizarre Love Triangle's music video has a short scene at around the 2:41 mark where, out of nowhere, actress Jodi Long states in an argument with E. Max Frye that "I don't believe in reincarnation because I refuse to come back as a bug or as a rabbit!" Totally unexpected and unrelated to the rest of the video.
Nicki Minaj - Stupid Hoe is one massive BLAM. Compared to the rest of that album, "Roman Holiday" also has shades of this.
Those two songs on Pink Friday: Roman Reloaded are the outro and intro respectively.
Lady Gaga's song "Government Hooker" is full of them.
The song opens with Gaga singing in an operatic voice "Gaga.... Aaaaaaaah.... Gaga... Aaaaaaaaah... Government Hoo-kar-eh". Her awful Italian accent should say something.
The random "Mojito!" in the middle of the song
Similarily enough, her song "Christmas Tree", which really isn't about a Christmas tree has four bars of orchestral Christmas music near the end which come out of nowhere and hae nothing to do with the rest of the tune.
The video for "Judas" stops its parade of religious imagery, as well as the song itself, to show Lady Gaga posing on a rocky shore at night time and getting splashed by waves. After this, the song and video continue as normal.
However; the scene itself is also reminiscent of "The Birth of Venus", meaning it might not be as random as it seems.
Amongst the many metaphors for life, aging and death in the Talking Heads's "Road to Nowhere" video, there is a single sequence where two businessmen in luchadore masks grapple with each other. This has no thematic resonance whatsoever.
Not necessary a lyrical example, but the ending of Angel in Disguise by the Red Jumpsuit Apparatus. Why did Ronnie Winter do that really loud cough?
Maybe it was accidental
Cirque du Soleil's Amaluna soundtrack ends with one. On the last track, titled "Run", the song finishes at the 3 minute mark only for a few pointless bars of a jazz rendition of the main theme. It's also quite unsettling. Earlier, "Ena Fee Alyne" also ends with a jazz interlude, which serves as a segue into the darker "Creature of Light".
Jethro Tull's album Thick As A Brick (and even more so, the stage show during that time), was full of these, and intentionally so, as the album was supposed to be a parody of "concept albums", which their previous album Aqualung had been labelled as.
"Wasn't Born to Follow" by The Byrds is a sunny, rustic, sweet-sounding song...until the strange, discordant bridge that begins about a minute in and lasts around twenty seconds, only to give way again to the pleasant sound that dominates the song. The bridge also qualifies as a Crowning Moment of Awesome.
From the very same album (The Notorious Byrd Brothers), "Old John Robertson" also has a musically disconnected bridge. After the line "then she died" the band drops out and a string quartet plays an entirely different melody, then disappears and we're back into the song. Oddly enough, the inclusion of the baroque section might have been the result of a real-life BLAM; according to guitarist Roger McGuinn, while the bad was rehearsing the song, some classical musicians walked in, played some music, then left. The band eventually decided to put something like it in the version that made it in the album.
Yuri the only One by L33T STR33T Boys has the hilarious "Sephy's Mom Has Got It Going On" BLAM from 2:19 to 2:45.
You had to be there: Consider who Sephiroth's mom is.
Alice in Chains "Love Song", from their EP Sap, basically just a series of Madness Mantras, set to music that alternates between goofy and nightmarish.
"So Fine" by Electric Light Orchestra. It's a generic (but catchy) pop song, until the weird, jungle beat section in the middle. No transition, nothing to indicate that the section actually belongs there.
The album version of Serena Ryder's "Stompa" opens with a sombre, melodramatic piano intro with Serena singing lyrics that would seem more suited to an Adele breakup song. Then suddenly the song kicks into happy upbeat motivational song mode. Especially jarring when it's not visited any more during the rest of the song.
From the same album, "Baby Come Back". The first 3/4 of the tune is an upbeat and catchy song, but then the last bit throws in a hip hop drumbeat and sad melancholic strings. Strangely enough, it's already an awesome song to begin with, but it only makes the song more awesome.
Blue Oyster Cult's hit single "(Don't Fear) The Reaper" is famous for having an overall Byrds-esque feel (with a bit of added melancholy... and more cowbell) in spite of dealing with a rather dark subject. However, it might be even more famous for the abrupt change in tone halfway through, when it switches to a sombre-sounding intermission crowned by an emotional guitar solo, only to change back to the more lighthearted jingle-jangle that makes up the bulk of the song.
Hot Chip's music video for "I Feel Better" contains two BLAMS for the price of one. It starts out like a generic Boy Band video and then...
The fact that it starts off with a Boy Band lip synching the song is itself a BLAM compared to the Hot Chip's other videos, which are far heavier on featuring the band's members. The actual members of Hot Chip are those nerdy looking guys in the audience that the camera keeps going to at weird intervals.
Late 1960s pop songs often contained BLAMS of jarring psychedelic effects in order to keep up with the prevailing trends of the time. Two that come to mind are "It's Wonderful" by the Rascals and "Susan" by the Buckinghams.
Another good one in this genre is the frantic, five-second long harpsichord solo from Pink Floyd's "See Emily Play".
The most extreme example is probably "My World Fell Down" by Sagittarius, which has a middle section made up of an ambient sound collage (including a baby crying, a horse race and a marching band) that actually predated "Revolution 9" by about 18 months or so. Between this and the two Byrds songs mentioned above, producer Gary Usher sure loved musical BLAMs.
Two Blood, Sweat & Tears songs could be considered to have BLAMS. The Western section ("Yee-haw!") in "And When I Die" and the Latin section in "God Bless The Child" don't have much to do with the rest of their respective songs, although they do provide an excuse to feature the horn section.
"Lady Godiva's Operation" by the Velvet Underground. For the first half of the song, John Cale softly and smoothly sings the lyrics. Then, during the second half, he stops singing the last part of some lines, only to have Lou Reed shout or say the last word or so (Reed also gets a few complete lines to himself) and after Reed's "interruptions," Cale casually continues as if nothing happened. Another sort of BLAM in the song is an odd noise that comes in toward the end (in fact, it's the only audible noise for a brief period) that sounds remarkably like Chewbacca, though the song predates the Star Wars films.
Starship's infamous single "We Built This City" Music Video is loaded with BLAM, a few notable examples is when they are staring at the Lincon Memorial and then it suddently gets up, then the giant rolling dice.
Also, the lion's roar and breaking glass in "European Son."
The "lion" is John Cale scraping a metal chair across the studio floor, although it sounds FAR worse than you'd expect.
The They Might Be Giants album Apollo 18 contains one of their most infamous tracks - Fingertips. Fingertips is actually a collection of many mini-songs, each barely more than a few seconds in length, and each counting as a separate track. This was done so that listening to the album on any player in shuffle mode would result in random moments of "I found a new friend underneath my pillow" and "What's that blue thing doing here?".
In the middle of John Lennon's song "Hold On," he growls "Cookie!" for some reason that only he, and maybe Yoko, knew.
Ringo Starr does the same thing in his song "Early 1970", which is a love song to the other three Beatles.
A year earlier, Kevin Ayers had a similar BLAM with "Town Feeling", where he lazily sings "banana".
German band Die ─rzte's "Leichenhalle" is a song about being a corpse in a mortuary, admittedly rather tongue in cheek, but with an appropriately deep atmosphere (being a pretty spot-on parody of 80s and early 90s gothic rock in the vein of The Sisters Of Mercy, Fields Of The Nephilim or Type O Negative). However, halfway through the final verse, the corpses announce that they are all Smurfs, and the last thirty seconds are of cheery la-la-la-ing.
In the Squarepusher song, "Male Pill Part 13," there is a period where the music comes to a complete halt followed by a voice simply grunting "Hhuuuhh... hhhmmm... uhhhuumm" then the music continues right where it left off. This is especially surreal when you take into account the fact that aside from that line, the song, like most of Squarepusher's other work, is an instrumental.
Queen's song "One Vision" — how many people who didn't already know to look for it were surprised when singing the track on Rock Band 2, and seeing that the last words were "fried chicken" instead of the repeated title? The story as to why they included it is well documented, but the line still comes out of nowhere.
Similarly, in their song "I'm Going Slightly Mad", the line "I think I'm a banana tree!"
"Get Down, Make Love", a raunchy hard rock tune that breaks into a fit of electronic weirdness about 2/3s of the way.
Along similar lines, the Barenaked Ladies song "One Week" ends with repetition of the last line of the chorus: "it'll still be two days till we say we're sorry". But the very last repetition changes it to "Birchmount Stadium, home of the Robbie".
Venetian Snares is fond of putting the odd BLAM into his songs. In "Pussy Skull", the instrumental completely drops out and a voice comes in, growling "Hours and hours of footage of two giraffes fucking," before the song resumes as normal as though nothing had happened. He pulls off a similar trick in "Horsey Noisers", except with the even more inexplicable phrase "I've drawn you a picture of a giraffe fucking an elephant. Notice how his moustache looks just like mine." Then there's Welfare Wednesday, which is basically one long BLAM.
The (now broken up) band Winter Solstice has one on their only album, "The Fall of Rome." Every song is djenty with a pig-squealing type 3 metal scream, except the title track. It's all harmonized acoustic guitar and piano. A very good standalone track, but very out of place. probablyone of the best examples in music.
The Doors' song "The End," specifically the spoken bit toward the end. "father yes son i want to kill you... mother i wanna f..... all night long!"
Another one occurs in "We Could Be So Good Together". At the end of the instrumental bridge, someone - most likely Jim Morrison - can faintly be heard singing "Do dapa de do, de doopa dapa de day" alongside an organ lick.
Their song "Hyacinth House" features the line "I see the bathroom is clear".
Black Sabbath's "Supernaut" starts off as a typical heavy number before going off, without warning, into a Caribbean flavored acoustic shuffle, then going back to the main riff as if nothing had happened.
Pete Seeger often sings his popular fairy-tale folk song to kids at concerts, but it's a crapshoot whether or not he'll remember to replace the single "damn" in the song with "darn." When he doesn't, it's pretty BLAM-y for a kiddie song.
Melvins' "Dry Drunk" contains a BLAM that is actually performed by an entirely different band: one an half minutes into the track, it suddenly jumps from a Hardcore Punk-influenced collaboration with The Jesus Lizard's David Yow to a slow discordant drum, guitar, and saxophone jam performed by Godzik Pink that sounds like something out of Trout Mask Replica and is otherwise completely unrelated to the song. Then the David Yow section kicks back in as though nothing happened. The album it's on, The Crybaby, is themed around collaborations, but this particular example was clearly done just for the sake of screwing with the listener.
At the end of the Sum 41 video for "Fat Lip" there is a random sequence of the band dressed up as heavy metal rockers and they play a short bit of music completely separate from the "Fat Lip" song. This added bit isn't on the single.
The added bit, however, is part of another song on the same album, titled "Pain For Pleasure".
At the end of her video for "Sk8er Boi" Avril Lavigne decides to smash her guitar through a car winshield and a SWAT Team and Police helicopters surround her for no reason at all.
The otherwise excellent "Sound Chaser" by Yes features an incredibly annoying "cha-cha-cha, cha-cha!" vocal harmony part that completely breaks the flow of the song and ruins the song itself.
The album Axis: Bold As Love by the Jimi Hendrix Experience starts with a BLAM in the form of "EXP", a brief spoof radio show with Mitch Mitchell as a talk show host and Hendrix as UFO enthusiast/alien Paul Caruso, complete with sped up and slowed down voices and screeching guitar.
The "Piltdown Man" sequence from Mike Oldfield's Tubular Bells, where Oldfield howls and growls in what seems to be like a cross between werewolf speak and Klingon. Legend has it this was Oldfield's response to record company pressure to include a vocal piece on the album.
The song "Altered States" from Tubular Bells II.
When performing live, Misty's Big Adventure start playing their first song... And then this guy◊ just runs onto the stage and dances frenetically to the music. And no one in the band acknowledges his presence.
Also, his name is Erotic Volvo.
A similar incident occurred during a Bob Dylan performance at the Grammys, featuring the interpretive dancer known as Soy Bomb.
"Revolution 9" and "Wild Honey Pie" are basically the BLAMs of the White Album.
"A Day In The Life" ends with a piano chord, but if you leave the CD (or record if you had one that wasn't automatic) on rather than turning it off when the album ends, you'd hear—after a moment of silence—the Beatles chanting, "never could speak any of the words (badump bum bum)" over and over again.
It is repeated because originally, on vinyl, the sound was an endless loop, recorded in the lock groove. Word of God maintains they were saying 'It really couldn't be any other' but it was overall meant to be just random noise. Much backmasking 'secret message' conspiracy theory/fun resulted, naturally.
Maybe they were supposed to be on drugs? (The plot in the movie is about the villain wanting to get children high on drugs.) But still, it fits all criteria of being a BLAM.
The video for Black and White begins and ends with a BLAM. Macaulay Culkin guest-stars as a "cool" young boy whose Straw Loser father keeps demanding that he turn down his rock music. The kid responds by using The Power of Rock to blast his dad clear through the roof and several miles up into the sky, only for him to come crashing down on a plain in Africa surrounded by lions, whereupon some Masai tribesmen begin dancing and Michael Jackson launches into the lyrics. The dumb father is never seen or heard from again (and no, it's never implied that the lions ate him). Culkin does reappear later in the video, but only to lip-sync some rap lyrics. The song itself ends with the then-awesome morphing models sequence, but after an On a Soundstage All Along reveal, a random black panther wanders onto a city street set, morphs into Jackson, and a music-free solo dance number ensues. He smashes up a car and storefronts along the way, and grabs his crotch many times (even zipping up his fly at one point) before transforming back into the panther. And then there's major Mood Whiplash as the scene is revealed to be on a TV in the animated world of The Simpsons, with Homer interrupting Bart's viewing. Other than the fact that the ending mirrors the theme of the similarly BLAM-y opener, there's no reason for it. Not surprisingly, many viewers were offended and confused by the "panther dance" coda, resulting in a recut.
Right in the middle of "Morphine", the otherwise up-tempo and angry song totally changes. Which means that it suddenly becomes calm but eery, as Michael sings about drugs by needles and taking Demerol. And then, the song just goes back to being up-tempo and angry.
"Chopsticks" being played towards the end of Manfred Mann's cover of "Blinded by the Light".
Halfway through the album Colors by Between The Buried And Me comes the track "Ants of the Sky", an Epic Rocking 13-minute track which twists, turns, and eventually builds up to... an utterly inexplicable bluegrass section. The very next track of the album features an accordion breakdown, complete with vocalist Tommy Rogers growling in a French accent.
Hell, the whole album is full of those. Informal Gluttony and Decade of Statues come to mind.
They never stopped being bonkers if "The Sleepwalkers" from Godbluff is anything to go by. A 10-and-a-half minute song about a zombie outbreak still manages to squeeze in a little break to play... elevator music?
George Harrison's All Things Must Pass has "It's Johnny's Birthday", a weird carnival styled piece congratulating someone for their birthday, with no connection with either the spiritual songs from the first two LPs or the jams from the 3rd.
King Crimson: a rather disturbing BLAM occurs in the studio version of "Larks' Tongues In Aspic, Pt. 2", where it sounds like a Disney character is murdering his friend, all while the music continues to play as if nobody notices or cares.
Arthur Brown's Kingdom Come was very fond of this trope. For example, the song "Whirlpool", from their self titled second album, randomly jumps to the ticking of an alarm clock.
MTV Brazil's show Piores Clipes do Mundo (The Worst Music Videos in the World) once showcased a video which featured a sudden appearance of a dancing Indian, which even cuts the song and puts some tribal drums in the BGM instead, only for it to never appear again (the presenter was baffled and even asked to replay that part to see if he could understand). One of the comments on the link above even points out it is a BLAM...
"Rhamadan" by Syd Barrett is a 20 plus minute jam that, for some reason, has a motorcycle driving by about a third of way into the piece.
In the Opeth song "The Lotus Eater," the song for the most part is a straightforward metal song, or at least as straightforward as most Opeth songs go, but during the bridge, a long, dissonant chord is played on a keyboard, with a drum fill that you would normally expect to lead into a big guitar solo, but instead, it's jazz-boogie time! And it is awesome.
In "Layla" by Derek and the Dominoes, there is an instrumental solo following the main melody that comes out of nowhere and has nothing to do with the song. It goes on for a few minutes till it ends. "Layla" (written by Eric Clapton) and the instrumental (written by Jim Gordon) were originally two separate songs, but they decided to combine them into one piece.
Directly from being a non-melodic and heavy song by their standards, the instrumental section of "Lost In The Future" by Gamma Ray bursts immediately into "Oh! Susanna," complete with background whoops and eventual humming along, then dives right back into the solo as if nothing had happened.
The scat-singing part of Van Halen's "I'm The One".
Tori Amos has many songs where the musical tone abruptly changes for a minute and then goes back to normal. Examples are "Pretty Good Year", a calm song with a random dramatic section including lyrics that seem irrelevant to the rest of the song, and "Professional Widow", which goes from messy and dramatic to clean piano and crisp high register vocals for a few bars in the middle. Lyrically Amos is known for being inpenetrable, so trying to point out all the lyrical BLA Ms would be a waste of time.
The second movement of Haydn's Symphony No. 94 has a soft intro with a single fortissimo chord stuck in the middle (hence the nickname, 'Surprise Symphony').
Dream Theater's "The Dark Eternal Night" is, for the vast majority of its duration, a horror themed heavy rock piece. However during the band's trademark overly long bridge the music suddenly stops so Jordan Rudess can play a ragtime piano solo for no apparent reason.
It wasn't the first time they'd done it; the same thing happens in their (similarly heavy) instrumental The Dance Of Eternity from Scenes From A Memory. In that case though, it's marginally less BLAM-y, as the plot of the album takes place in 1928.
More recently, in the Korean artist Hyun A's song "Bubble Pop", there is an inexplicable dubstep part in the middle. The whole song is sort of cutesy and then you get hit upside the head with bass.
Post-Grunge band Presence's song In My Room. On an album filled with straightforward (yet good) post grunge, including all of its usual theme. This song however, is a somewhat disturbing song about A Date with Rosie Palms (to Mary Kate And Ashley no less!) that ends abruptly for about a minute of silence, then the band just start goofing off on the microphone.... its out of left field to be sure.
Blue Swede's cover of "Hooked on a Feeling" opens with an incredibly obnoxious chant of "Ooka Chuka! Ooka! Ooka!" (which reappears during the last verse). YMMV as to whether or not this falls into So Bad, It's Good territory, but it reached #1 on the US charts.
Showbread's discography is spattered with a few of these, most notably on their first studio album No Sir, Nihlism Is Not Practical. Moments such as the totally-unexpected Doo-Wop-inspired bridge on So Selfish It's Funny and the odd sound bite of airraid alarms and people shouting followed by vocalist Josh Dies saying, "Fire!" and what sounds like a muffled nuclear explosion at the end of And The Smokers And Children Shall Be Cast Down are certainly BLA Ms. However, the biggest BLAM on the album is probably track 5, Sampsa Meets Kafka. It starts with some echoey electronic warbling, then a throbbing bass starts up, followed a few seconds later by screeching techno and Josh Dies screaming the line, "Gregor starved to death, no one dies of loneliness'' twice, and the song ends with a bit more drippy techno and a couple seconds of static. Weird.
The early Japanese synth pop group Yellow Magic Orchestra released two albums containing quirky, innovative electronic music—and then their third release, x∞Multiplies, was practically a BLAM album. It contained significantly more bizarre music (including a cover of Archie Bell and the Drells' "Tighten Up" with a high pitched voice repeating "Japanese gentleman, stand up please!" throughout the entire song) and was filled with arbitrary comedy acts, predominantly in Japanese (which made it especially confusing for English-speaking listeners). After this, they returned to a more conventional style.
Same with the original version of Service.
The Wiz Khalifa section of the Maroon Five song "Payphone". It doesn't have any backing music, is inconsistent with the rest of the lyrics, and seems kind of forced into the song. The music picks back up after it's over.
English doom metal band Cathedral drops in the middle of "Utopia Blaster" four rimshots, a bass slide, and Lee Dorrian going "Huggy Bear, Oh Yeahhhhh!!!" then picks up where it left off.
The Avalanches' album Since I Left you has one during Flight Tonight; the Sa´an Supa Crew's rapping which prompts the beat of the song to completely switch up. They finish rapping, and back to the normal beat.
In Neutral Milk Hotel's "Oh Comely", someone decides to shout "holy SHIT!" at the very end of the song. It Makes Sense in Context: It's Robert Schneider of The Apples In Stereo, the producer of the album, who assumed that the band were doing a run-through of the song. After Jeff Mangum and his bandmates ran through the entire eight-minute song in one perfect take with no mistakes, Schneider yelled the aforemetioned "Holy SHIT!", and nobody bothered to edit it out.
Anadivine's early version of "Alcohol and Oxygen" has a shattering bridge that has less or nothing to do with the song, but will still terrify any unsuspecting listeners, with sharp, high pitch screams akin to someone getting burned alive. The band left it out when they re-recorded it for Zoo.
Play PSY's "Gangnam Style" and you're pretty much guaranteed to get one. Saturday Night Live proved this.
Gary Young's "Plant Man" is fairly surreal to begin with, but the lyrics at least mainly stay on the topic of "the plant man"... Until he decides to kick off an instrumental break by muttering "shirts".
Mclusky's "She Will Only Bring You Happiness": What's with that bit in the middle about their old singer being a sex criminal?
"Weird Al" Yankovic's R. Kelly parody "Trapped In The Drive-Thru" has a moment where the narrator turns on the radio after they've ordered their food. Cue a sudden and loud snippet of Led Zeppelin's "Black Dog" that ends just as suddenly as it starts.
The scream from Aerosmith's "Dream On", as soon as it's over Steven sings the chorus like nothing happened.
On Beastie Boys' 1989 album Paul Boutique, there's "5-Piece Chicken Dinner", 23 seconds of hooping, hollering, country fiddle and Deliverance samples in between hip-hop songs "Hey Ladies" and "Looking Down the Barrel of a Gun". The Mood Whiplash is enough to figuratively break one's neck.
Pendragon's This Green And Pleasant Land is a 13 minute, musically excellent, prog-rock style meditation on the state of the nation. Which ends with 45 seconds of yodelling.
The infamous "free jazz" section of Led Zeppelin's "Whole Lotta Love".
Due to their avant-garde nature, the avant-garde black metal band Sigh is prone to this, especially on their 2001 album Imaginary Sonicscape. BLAMS include the ending of "Scarlet Dream" breaking into reggae near the end before a final chorus, "A Sunset Song" having a random disco moment in the middle of the song and the last 45 seconds of "Reqiuem - Nostalgia" being rather strange and creepy sounds of children and babies laughing, over and over again.
Thisonionring's parody of "Jack Sparrow" is supposed to be strange, but having a line about Lebron James in a chorus about Sylvester Stallone is just bizarre
Sound Horizon has a particularly egregious one in The Princess Sleeping In The Glass Coffin, in which Idolfried Ehrenberg, who never appears again, has a conversation which has nothing to do with the plot.
The music video for Bastille's "Laura Palmer" stops completely about midway to show cheap-looking video footage of a dog barking (with sound). While the dog does show up towards the beginning, if briefly, it has very little to do with the rest of the video's plot involving singer Dan Smith being kidnapped, and nothing like this shows up again in the video.
Avant-garde Metal band iwrestledabearonce are extremely fond of BLAM's in their songs. Some notable examples include:
"You Ain't No Family", a pretty straight forward Metalcore-like song until it suddenly breaks down into a cheesy Country part for a few seconds, plays a sample of a horse whinnying, and then goes right into a Death Metal breakdown
"Tastes Like Kevin Bacon", already a pretty huge blend of different genres, have a completely out of nowhere harp solo ending with a horn sample before going into Metal like nothing had happened
"You Know That Ain't Them Dog's Real Voices", mostly a Alternative Metalcore song, then out of nowhere goes Surf Rock (complete with a bad Elvis Presley impersonator singing lyricles words) before going back to Metal
Babymetal, as if mixing J-Pop with Metal wasn't odd enough, have some of these on top to make it even weirder. Their song "Iine!" goes so far to have a double BLAM, being in general a J-Pop song with Metal guitars, then suddenly turns into a cheesy Rap song, and THEN again turns into a bone-breaking Death Metal breakdown before turning back to normal.
Waikiki by Ska band Suburban Legends is an otherwise normal song about Waikiki, but in the middle has a Mad Scientist exclaiming about his "precious time machine" for a few seconds.
A lot of songs include random rap that are this. Katy Perry's version of E.T. with Kanye in it is seen as this.
Nicki Minaj - Stupid Hoe is one massive BLAM compared to the rest of that album.
At around the 2:20 mark on Turisas' cover of 'Supernaut', we're treated to a monologue from someone (it sounds like the band's guitarist) regarding the precise meaning of the word 'Supernaut', and its origins:
What is 'Supernaut', anyway? They have, like, astronauts, and, um, takionauts, and spationauts...maybe it's from Sweden. IKEA is from Sweden. They have great meatballs at IKEA. I like meatballs. Meatballs come from cows. I once saw a cow in Denmark. Maybe it's from Denmark?
"Make Sex" by Andrew W.K. from The Wolf. Andrew and a chorus of gang vocalists chanting "I don't wanna make life, I don't wanna make death, I don't wanna make love, I just wanna make sex! Wanna make sex, wanna make sex HO!" over pounding synthesizer noises until suddenly stopping under a minute, like the intro to a song that doesn't actually exist.
"Bring the Boys Back Home" off The Wall. Who are "the boys" and what do they have to do with the main character, Pink? Is it a reference to the war Pink's father died in? If so, why does it show all the way near the end of the second record after that plot point has been buried? And what is this half-minute orchestral chorus bit doing in a rock album that's been the band themselves up to this point?