8s

I recently developed a theory (=opinion) that one way to define a Truly Good Song is that the bridge (middle eight) sounds like an organic, "natural" part of the whole, and is as excellent, creative, and effective as the rest. If your brain goes, "Oh, there's the bridge," then the song is "failing" somehow.

Which I guess makes it hard for me to think of a song with a "great" bridge, since in the best songs they don't stand out for me.

(Is a middle eight by definition instrumental? I've never been clear on the diff between "middle eight" and "bridge.")

Some random favorites of varying degree that pop to mind (the quoted part is not necessarily the beginning of the Middle 8, but it's the part that I love the most):

The Beatles - "Things We Said Today" - "Me I'm just a lucky guy..."

Chicago - "Just You and Me" - "Come hold me close/never release me..."

The Moody Blues - "Out and In" (To Our Children's Children's Children) - "...I've said my peace/and I leave it all up to you..."

The Monkees - "Sometime in the Morning" (More of the Monkees) - "...Sometime in the morning/You'll just reach out and she will be there..."

Roxy Music - "Serenade" (Stranded) - "Maybe I'm wrong for seeming, ungrateful, unforgiving..."

Yes - "Beyond and Before" (Yes) - "...Now that you've gone/the summer's too long and it seems like the end of my life..."

And, of course, because it simply must be mentioned whenever/wherever possible...Emerson, Lake & Palmer's "Taste of My Love":

"I'm gonna love you, like nobody's ever loved you,
Get on my stallion and we'll ride!
I'm gonna hold you, and enfold you beyond reason,
I'm gonna dyn-o-mite your mind...WITH LOVE...TONIGHT!!!!!"

So many Cole Porters to choose from, but let's say the "I'd sacrifice..." one from "I've Got You Under My Skin" (Sinatra/Riddle version of course, the second time through when the anticipation for the last verse becomes unbearable).

The Beatles - "Michelle" : the instrumentally bit.

Blue Oyster Cult - "Stairway to the Stars": the way you disappear in a puff of white flour during the first beat of the bridge and find yourself in a chill and starry chamber, distracted by the rustle of delicate shells while Albert calls up through the ventilation system, telling you to come back for the guitar solo.

ROMEO

XTC, Ballet for a rainy day - "When it rains it rains / Every color in my paintbox"

(and a loooong list of other Andy Partridge songs)

"Underneath It All" naturally (okay it's a fairly by-numbers minor-key bridge but it leads into the dancehall thing like a machete thru cane)

Beck = "I'm a driver I'm a winner. Things are gonna change I can feel it." = CLAW-SICK!

Chic - Le Freak. The trance-like ascending strings!

Ooh Dr. C you've reminded me of 'Jump (for my love)' by the Pointer Sisters - that section with the lyrics:
'When you are next to me,
Oh I come alive
Your love burns inside
Feels so right
Come to me if you want me tonight..'

Glowing, celebratory, lilting life-loving chords swaying back and forth, but with a sense of desire-tension, the rising vocal line at the end starting off from sultry low voices into great big open-armed COME OVER HERE YOU

The bridge on "Romeo" gives me shivers every time. "To Be Young" by Ryan Adams has a beautiful middle 8 that comes from nowhere, it's very affecting.

"They made me pay for the things I've Done ..."
- Feel So Good I'm Gonna Break Somebody's Heart Tonight - Richard Thompson

I'd like to answer, but I'm not sure if I can recogonise a middle eight when I hear one.