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fixing link from my previous edit
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* Iwrestledabearonce is pretty notorious for this, for example throwing a random hoedown into ''You Ain't No Family'' or the strange electronic interlude in ''{{WordSaladTitle Tastes Like Kevin Bacon}}''.
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* Iwrestledabearonce is pretty notorious for this, for example throwing a random hoedown into ''You Ain't No Family'' or the strange electronic interlude in ''{{WordSaladTitle ''[[WordSaladTitle Tastes Like Kevin Bacon}}''.Bacon]]''.
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* Iwrestledabearonce is pretty notorious for this, for example throwing a random hoedown into ''You Ain't No Family'' or the strange electronic interlude in ''{{WordSaladTitle Tastes Like Kevin Bacon}}''.
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** [[TheBeatles "You Never Give Me Your Money"]] is much the same.
** Speaking of TheBeatles, "Happiness Is A Warm Gun", written by JohnLennon, switches styles and moods radically at least three times, arguably more.
** Speaking of TheBeatles, "Happiness Is A Warm Gun", written by JohnLennon, switches styles and moods radically at least three times, arguably more.
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* Pokey theme music in {{Earthbound}}, "Cease to Exist", starts off as a typical 8-bit boss tune and then suddenly shifts into hard rock/metal about a minute into the song.
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* In Vain's [[http://www.youtube.com/watch?v=Fm6W3W5pvZw October's Monody]] takes this trope and runs with it. Recklessly. Starting with a standard metal acoustic intro, it seems to be a Hammond organ based post-black metal song at first. Suddenly, and "like a thief in the night", it drops the post--hard, launching into an old-school blast beat section. Okay, you say, so we're settling into a back and forth between Hammond organs and black metal. Until In Vain drive a truckload of blues into the song.
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* "Frozen" by River of Guilt goes From a straight-forward groove metal song to a Proggy solo section that finishes off the song.
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* "Frozen" by River of Guilt goes From from a straight-forward groove metal song to a Proggy solo section that finishes off the song.
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* "Frozen" by River of Guilt goes From a straight-forward groove metal song to a Proggy solo section that finishes off the song.
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* PaulMcCartney's "Band on the Run" is composed of three quite different sections.
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more examples
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* "The Nameless" by Slipknot is a prime example of this. It starts aggressive and hard then switches into an almost pop-like chorus then switches back and builds up until the final chorus retains the melody but is much harder. Its jarring but fits the story of the song as its about the cycles of a dysfunctional relationship.
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* Sublime's "Seed" rotates from being punk to reggea to ska throughout the song.
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* The refrain of "Should I Be Sweet" shifts repeatedly between "sweet" and "hot" styles with just about every other line.
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->''"You see, we never ever do nothing nice and easy. We always do it nice and rough. So we're gonna take the beginning of this song and do it easy. Then we're gonna do the finish rough."''
-->-- '''Tina Turner''', spoken intro to "Proud Mary"
-->-- '''Tina Turner''', spoken intro to "Proud Mary"
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* The Dingees' "Smoke Signals" is a very funky reggae song for most of its duration, then about two minutes before the end, a bunch of synthesizers wash over the song, and the whole rhythm section gets simultaneously louder and less distinct.
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* The Dingees' TheDingees' "Smoke Signals" is a very funky reggae song for most of its duration, then about two minutes before the end, a bunch of synthesizers wash over the song, and the whole rhythm section gets simultaneously louder and less distinct.fuzzed-out.
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* A ''lot'' of hard rock and metal songs have slow, melodic intros, often with unusual instrumentation. Examples: [[Metallica]]'s "Battery", AvengedSevenfold's "Afterlife" and "Critical Acclaim" or [[Megadeth]]'s "My Last Words".
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* A ''lot'' of hard rock and metal songs have slow, melodic intros, often with unusual instrumentation. Examples: [[Metallica]]'s {{Metallica}}'s "Battery", AvengedSevenfold's "Afterlife" and "Critical Acclaim" or [[Megadeth]]'s {{Megadeth}}'s "My Last Words".
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* A ''lot'' of hard rock and metal songs have slow, melodic intros, often with unusual instrumentation. Examples: [[Metallica]]'s "Battery", AvengedSevenfold's "Afterlife" and "Critical Acclaim" or [[Megadeth]]'s "My Last Words".
* The Guess Who's "American Woman" - a slow one-and-a-half minute intro followed by a slightly harder second part. The intro is commonly edited out for radio airplay.
* The Guess Who's "American Woman" - a slow one-and-a-half minute intro followed by a slightly harder second part. The intro is commonly edited out for radio airplay.
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* The Dingees' "Smoke Signals" is a very funky reggae song for most of its duration, then about two minutes before the end, a bunch of synthesizers wash over the song, and the whole rhythm section gets simultaneously louder and less distinct.
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I guess WIAWSNB doesn\'t really fit, after all.
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** Also, "What Is and What Should Never Be" alternates between being a slow bluesy tune and a fast-paced hard rock tune, and includes a bluesy guitar solo.
* {{Pantera}}'s "Cemetery Gates" starts out with an acoustic guitar, shifts into a heavy metal riff, then alternates a few more times between acoustic and fast-paced metal.
* {{Pantera}}'s "Cemetery Gates" starts out with an acoustic guitar, shifts into a heavy metal riff, then alternates a few more times between acoustic and fast-paced metal.
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* Styx's "Suite Madame Blue" starts out as a soft ballad, until a few minutes into the song - when it abruptly transitions into a dramatic full blown hard rock tune.
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* Styx's "Suite Madame Blue" starts out as a soft ballad, until a few minutes into the song - when it abruptly dramatically transitions into a dramatic full blown hard rock tune.
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* Styx's "Suite Madame Blue" starts out as a soft ballad, until a few minutes into the song - when it abruptly transitions into a dramatic full blown hard rock tune.
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** Also, "Fade to Black".
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* Queen's "Bohemian Rhapsody" starts off as a mournful apology song, but after a long guitar solo turns into something faster-paced and more whimsical.
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* Queen's {{Queen}}'s "Bohemian Rhapsody" starts off as a mournful apology song, but after a long guitar solo turns into something faster-paced and more whimsical.
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* {{Pantera}}'s "Cemetery Gates" starts out with an acoustic guitar, shifts into a heavy metal riff, then alternates a few more times between acoustic and fast-paced metal.
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** Also, "What Is and What Should Never Be" alternates between a slow bluesy tune and a fast-paced hard rock tune, and includes a bluesy guitar solo.
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** Also, "What Is and What Should Never Be" alternates between being a slow bluesy tune and a fast-paced hard rock tune, and includes a bluesy guitar solo.
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** Also, "What Is and What Should Never Be" alternates between a slow bluesy tune and a fast-paced hard rock tune, and includes a bluesy guitar solo.
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* LedZeppelin's "Over the Hills and Far Away" start out as an acoustic guitar folk ballad, and then it abruptly transitions into a faced-paced hard rock tune (with the acoustic guitar providing the rhythm), and then slows down into an echo-y finish.
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* At the three-minute mark of LinkinPark's "And One", the song switches from the brand of nu-metal they became famous for to a musically and lyrically strange hip-hop section.
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* {{Starflyer 59}}'s "Who Says It's Easy?" starts as a fast (and for Sf59, relatively upbeat) pop-rock song, then slows down to a moody space-rock finish.
* Richard Swift's "Buildings in America" starts off poppy, then turns industrial after the second chorus.
* Richard Swift's "Buildings in America" starts off poppy, then turns industrial after the second chorus.
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* Motley Crue's "Wild Side" is an inversion.
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* Queen's "Bohemian Rhapsody" starts off as a mournful apology song, but after a long guitar solo turns into something faster-paced and more whimsical.
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* Ike and Tina Turner's version of [[CreedenceClearwaterRevival CCR]]'s "Proud Mary".
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You're listening to a song on your media source of choice. You're grooving along to the beat and you get to a point where it sounds like your going to get a BigFinish or a [=~Truck Driver's Gear Change~=].
NotSoFastBucko! Instead the music changes almost completely. It gets faster and more aggressive. As if someone rewrote the song in a different style and pasted that part into the middle of the recording.
If done well,it can result in some CrowningMusicOfAwesome. Bear in mind that this is ostensibly the same song, rather than a segue (one song, leading to a nother) or a medley (parts of different songs put together).
NotSoFastBucko! Instead the music changes almost completely. It gets faster and more aggressive. As if someone rewrote the song in a different style and pasted that part into the middle of the recording.
If done well,it can result in some CrowningMusicOfAwesome. Bear in mind that this is ostensibly the same song, rather than a segue (one song, leading to a nother) or a medley (parts of different songs put together).
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You're listening to a song on your media source of choice. You're grooving along to the beat and you get to a point where it sounds like your you are going to get a BigFinish or a [=~Truck Driver's Gear Change~=].
NotSoFastBucko!Instead Instead, the music changes almost completely. It gets faster and more aggressive. As if someone rewrote the song in a different style and pasted that part into the middle of the recording.
If donewell,it well, it can result in some CrowningMusicOfAwesome. Bear in mind that this is ostensibly the same song, rather than a segue (one song, leading to a nother) another) or a medley (parts of different songs put together).
----
NotSoFastBucko!
If done
----
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* PhilCollins' "In The Air Tonight" after the '''EPIC DRUM BREAK''' it goes from slow, dark pop song to faster pop/rock.
* Sly & The Family Stone's "Stand"
* Metallica's "One". Let BeavisAndButthead [[http://www.youtube.com/watch?v=ohH8to2iQ5E show you what we mean.]]
* Sly & The Family Stone's "Stand"
* Metallica's "One". Let BeavisAndButthead [[http://www.youtube.com/watch?v=ohH8to2iQ5E show you what we mean.]]
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* PhilCollins' "In The the Air Tonight" Tonight", after the '''EPIC DRUM BREAK''' it BREAK''', goes from slow, dark pop song to faster pop/rock.
* Sly &The the Family Stone's "Stand"
*Metallica's {{Metallica}}'s "One". Let BeavisAndButthead [[http://www.youtube.com/watch?v=ohH8to2iQ5E show you what we mean.]]mean]].
* Sly &
*
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* Chicago's "Hard to Say I'm Sorry" speeds up into a coda called "Get Away" (usually left off on most radio edits)
* Country music band Alabama shifts two of their singles this way: "Dixieland Delight" and "Mountain Music".
* Country music band Alabama shifts two of their singles this way: "Dixieland Delight" and "Mountain Music".
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* Chicago's "Hard to Say I'm Sorry" speeds up into a coda called "Get Away" (usually left off on most radio edits)
edits).
* Country music bandAlabama shifts {{Alabama}} shift two of their singles this way: "Dixieland Delight" and "Mountain Music".
* Country music band
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* Derrick And The Dominoes' "Layla" goes the other way: It's a fast-paced guitar-driven rock song, which suddenly shifts into a Linda Rondstadt piano piece.
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* Derrick And The and the Dominoes' "Layla" goes the other way: It's a fast-paced guitar-driven rock song, which suddenly shifts into a Linda Rondstadt Ronstadt piano piece.
