What are your dirty little musical obsessions?

1. Cabaret - Wilkommen
6:40-7:05 (pullback)
2. Bridges Of Madison County - State Road 21
1:45-2:15 (belting)
3. Heathers - Candy Store
1:54-2:04 (love the weighted downbeat)
4. Evita - A New Argentina
2:22-2:42 (BELT IT PATTI)
3:05-3:24. (BELT IT PATTI)
5. Merrily we roll along - Opening Doors
:12 (oy)
1:07-1:09 -my fair lady
5:24-5:33 girl singing
5:13- "Yeah!"
6:04-6:10 lyrics cant hear
6. Dreamgirls - Dreamgirls
1:00-1:08
1:45-2:02
7. Rags - Rags
:38-:48
1:15-1:17- down beat
1:23-1:26
1:42-1:52 MAJOR down beat
1:52-2:04- rags and intensity
4:19- slow to gradual down beat
4:20 voice pulls back
8. Funny Girl - Cornet man
Trumpet
:33- "darlin'"
1:08- "hagggg"
1:33- horn sound in words
2:31- "wa wa wa wuot"
3:18- silver
3:24-3:32- OBSESSED!!!!
9. Bridges of Madison County - To Build a Home
4:20-4:47 - "Ah Ah's"= amazing
4:47-5:15 - the down beat with the drum!!!!!
10. Ragtime - His Name was Coalhouse Walker
1:58-2:27 -OMG OMG THE FLUIDITYING IN THE RIFFING

Yes!!!!! There is a moment in Do Your Own Thing from Bring It On that I am obsessed with. It is the chorus right after Bridget sings her verse. UGH THOSE HARMOUIES. Also tons from heathers.

HELLO, DOLLY!: Put On Your Sunday Clothes 3:16-end

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In the 25th anniversary Les Miserables concert, during the curtain call four Valjeans sing Bring Him Home Together. My obsession is the moment Alfie Boe joins the other Valjeans.

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A bunch from Merrily We Roll Along's OBC

RICH AND HAPPY
9:58 ["And on the covers..."] This whole last segment has the most fabulous underscoring, especially the jumpy syncopation.

1979-1975 TRANSITION
:29-:38 A remnant from Gussie's cut patter song, "Darling!".

FRANKLIN SHEPARD INC
2:46 - 3:19 That UNDERSCORING just kills me, that dangerous, nervous bubbling; the thumping bass, the tapping snare, that nervous little faux-harpsichord riff that slowly eats its way in.

4:15-4:35 Again the underscoring - it's like this audible tension.

4:36 - 4:48 And now the oboe comes in (I love the high-school-band brass instruments in this score), and a rattling tick-tock percussion.

4:49 And now the explosion! Everything comes in, and something I really love here is the flutes fluttering. Everything gathers this sort of scary momentum - Charlie's really letting loose here - and at 5:14 I really love the totally unmusical bleet-bleet-bleet from the harpsichord right before it goes back to that anxious chewing. Just killer stuff.

IT'S A HIT!
2:01 - 2:22 ["Hold it, folks..."] The low, thudding, insistent underscoring from the whatever those are - tuba and whatnot? And then at 2:05 there's this electronic bit that comes in and I don't know what it is either, but I love it. I love that whole bit to pieces.

NOT A DAY GOES BY [2]
:00 - :17 The descending vibraphone that very gradually comes into a perfect harmony, which kinda reminds me of the similar ascending vibraphone scale in LOSING MY MIND from Follies (1:39 - 1:54 on the OBC). They almost seem to serve similar purposes, putting the audience on edge by leading them to a conclusive harmonic note.

THE HILLS OF TOMORROW [2]
:00 - :45 The repeating tone from the orchestra. It's sort of ambiguous, applying to both Old and Young Franks. It stands in nicely for Old Frank's sudden, sad nostalgia and the bittersweet epiphany he's having about his life, as well as Young Frank's looking forward into his future with bright eyes and hoping.
1:55 - 2:19 Again a tone, conclusive this time, again with the high-school-band feeling, lots of reed/wind/brass. I really miss that feeling from the revivals.

I love this!!

FUNNY GIRL:
Cornet Man: 2:21-2:32 (Don't get me started on Babs' "wah-wah mute"

ANYTHING GOES (2011)
Anything Goes: 5:31-5:42 (Love Sutton's last "anything goes")

BEAUTIFUL: THE CAROLE KING MUSICAL
Beautiful: 1:43-1:47 (I just love Jessie Mueller. Period.)

BRIDGES OF MADISON COUNTY
Look At Me: The opening "ah's" (My friend and I will rewind this part at least three times before listening to the god that is O'Hara).

Patti LuPone at Les Mouches (ok, I know.. not a Broadway show but I can't help it).
Rainbow High: 0:23-0:36 (and the entire song)
Love for Sale: the entirety

SUNDAY IN THE PARK WITH GEORGE
Sunday: 3:47-4:12 (Brings me to tears every time)

ON THE TWENTIETH CENTURY
I've Got It All: 4:16-4:26

BAKER'S WIFE
Meadowlark: 3:03-3:10 & 5:15-5:26 (LuPone's voice is SO soft in the fifth minute one that it kills me every time. I'm obsessed with it.)

PROMISES, PROMISES (2010)
Knowing When to Leave: 3:00-3:13 (I love that little sound Cheno makes at the end of "leave")

Pretty much the entire Bridges cast recording and everything that Patti LuPone has done (mostly her cabaret recordings).

EDIT: Just realized the OP has the Cornet Man one too! Makes me happy!

Updated On: 9/15/14 at 06:41 PM

This isn't really a cast album, but on FORBIDDEN BROADWAY's 2nd album from 0:30-0:39 on "Anything Goes/I Get a Kick Out Of You" is utterly hysterical and sums up Patti's performance in that show so well.

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^Love it. This thread reminds me of Seth Rudetsky's "Deconstructs" videos.

Also, in the vein of people going into crazy high soprano at the end of a song, the ending 30 seconds or so from a whole bunch of songs arranged by Don Pippin (MAME, DEAR WORLD, A CHORUS LINE (even though most of the score is something to be desired) WOMAN OF THE YEAR, and LA CAGE AUX FOLLES)

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