Mark Ronson to Roy Orbison: 10 classic songs that stop on the word “stop”
Since the dawn of popular music, a set of songwriting tools have been used across the decades to help assemble a potent hit. From the love songs of the 1960s crafted by figures such as Roy Orbison to the drug-fuelled alternative rock of the 1990s from outfits such as Jane’s Addiction, these tools have been utilised by many different artists.
These implements include quiet-loud-quiet dynamics, 12-bar chord progressions, chromatic harmonies and even call-and-response vocals. One of the most potent that we’ve seen time and time again is when a song stops after the word “stop”. Whether it be popstars of contemporary times or snotty punks from 1970s Britain, this familiar tool keeps listeners locked in, providing a brief moment of respite from a visceral riff or pulsating groove, and it does so in a quirky meta fashion.
Prominent names such as Beyoncé and Billie Eilish have used it, with the most famous recent example going to Mark Ronson and Bruno Mars in the enormous 2014 hit ‘Uptown Funk’. Prince, Britney Spears and Eminem have also drawn upon it outside the aforementioned. It’s one of the most simple yet effective means of creating an unforgettable moment in a piece that engages all listeners no matter what setting; car, pub or cafeteria.
It’s a twist that also lifts the curtain for a cheeky second and allows you to see the songwriting process, as well as being oddly satisfying. Join us then, as we list ten songs that stop on the word “stop” with a list of vintage examples below.
10 songs that stop on the word “stop”:
Roy Orbison – ‘Crying’ (Crying, 1961)
One of the ultimate hits by the late balladeer Roy Orbison, ‘Crying’ is one of his more dreamlike cuts, as he laments a lover who broke his heart. A rock-bolero-styled piece featuring guitar work from none other than Scotty Moore, and some rousing tympanis for good measure, there’s no surprise it’s classed as one of his best.
As the song is heavily centred on the word “crying”, with the emotive strings and Orbison’s vocal melody connecting to create one of the era’s most affecting pieces, it needed something to break up the depression a little bit. This comes from the music cutting out at 0:21 as Orbison sings, “stopped”, before finishing the line with “to say, ‘Hello'”.
Simon and Garfunkel – ‘Overs’ (Bookends, 1968)
‘Overs’ is a brilliant yet overlooked Simon and Garfunkel piece from their fourth studio album, Bookends. One of the bluer moments in their oeuvre, one not known for being overly optimistic, it also boasts one of Paul Simon’s best moments on the guitar. It’s a spacious, jazz-inspired melody that accentuates the theme of an old couple tiring of each other.
When appearing on Kraft Music Hall in 1968, Simon explained that the song is a companion to 1966’s ‘For Emily, Whenever I May Find Her’. As that song discusses a belief in true love, ‘Overs’ describes the loss of this belief. After singing, “But each time I try on the thought of leavin’ you”, Simon briefly pauses proceedings with “I stop” at 2:04 before one last brief flourish on the guitar.
Elvis Costello – ‘Alison’ (My Aim is True, 1977)
‘Alison’ is one of the finest moments of Elvis Costello’s early career, with it the second single from his 1977 debut album. He once claimed it was written as an ode to a woman he saw working in a supermarket, but he’s never really expanded on this. Interestingly, the song failed to chart, but it is still one of his most notable works.
The song is essentially a ballad with a slow, heartfelt pace to drive Costello’s feelings home. Duly, in the second verse, he sings, “sometimes I wish that I could stop” at 1:40, with it briefly pausing, before he continues with “you from talking”, with a couple of notes hit afterwards to bring us back in.
Jane’s Addiction – ‘Stop!’ (Ritual de lo Habitual, 1990)
In my mind, this Jane’s Addiction standard is one of the finest songs to utilise the trick of stopping on “stop”. In fact, the song is so indebted to it that it even gave it its title. One of the best moments in alternative rock, the piece boasts a visceral pace with a funky rhythm, which is adroitly broken up numerous times by frontman Perry Farrell shouting, “stop!”.
The first time is at 1:05, before the frantic rhythm charges back in, and Dave Navarro blasts us with some dissonant noise on his guitar. However, the most impactful occasion is at 1:44, where it creates real tension. As Farrell yells the word, the rest of the band drops out as Navarro plays the central riff once more. Then, one of their most mesmerising moments occurs. Bouncing on the chug of the E chord, a significant slowing down of the rhythm occurs, which hits you like a tonne of bricks.
MC Hammer – ‘U Can’t Touch This’ (Please Hammer Don’t Hurt ‘Em, 1990)
MC Hammer is a colourful character, so it makes sense that his signature hit is too. A crossover piece of early hip-hop that everyone knows, from your nan to your obscure uncle, ‘U Can’t Touch This’ is a straight-up classic. It’s almost impossible not to get down to this song when the DJ decides to play it at whatever kind of function you might find yourself, be it a wedding, christening, or, dare I say it, a Young Farmers do.
With one hell of a beat, bassline, and a catchy vocal melody, Hammer was no fool, and he knew that to make this piece even more infectious, he just had to add a “stop”. He does it numerous times in the track as he commands, “Stop, Hammer time!” after the freakout breakbeat to set the track back on its original rhythm.
Motörhead – ‘Born to Raise Hell’ (Born to Raise Hell, 1994)
Motörhead were the kings at delivering a hard-rocking good time. Although they perfected their formula long before this single came out, it ranks among their best. Creative figurehead Lemmy Kilmister originally wrote the song for the German band Skew Siskin for the classic 1994 comedy Airheads. Memorably, the late frontman has a cameo in the movie.
‘Born to Raise Hell’ was released in November 1994, featuring Lemmy, Ice-T, and Ugly Kid Joe frontman Whitfield Crane. After the guitar solo, the “stop” in this track comes at 3:40, which provides a moment of calm before the last bit of the song returns for one last hurrah.
Fugazi – ‘Epic Problem’ (The Argument, 2001)
Fugazi were brilliant for many reasons, with their considered songwriting widely influential for a number of genres. Across their career, Ian MacKaye, Guy Picciotto, and the gang recorded many pieces that have retained their edge, despite the passage of time. Although purists will tell you that their early albums Repeater and Steady Diet of Nothing are their best, their most recent album, 2001’s The Argument, is right up there. It saw the band make good on the art rock foundations they’d laid until that point.
One of the most scintillating moments on the album is ‘Epic Problem’. In the song, they utilise a “stop” four times, with the word then screamed by MacKaye multiple times at the end of each verse, helping to create ample tension and foreshadow the final part. The end boasts one of the most stirring key changes Fugazi ever captured, with an anthemic chorus to boot.
Bowling for Soup – ‘1985’ (A Hangover You Don’t Deserve, 2004)
‘1985’ is widely deemed as pop-punks Bowling for Soup’s signature song, with it a crossover hit at the time of release in 2004. Telling the story of Debbie, who hits the wall and loses it after a disappointing life, it’s one of the most infectious pieces on this list. However, most people don’t know that it’s not an original number. It was first written and recorded by Baltimore’s SR-71 before they gave it to Bowling for Soup, who recorded their successful cover.
One of the more famous instances of “stop” being used to halt proceedings, comes at 2:35. After lead singer Jaret Reddick asks, “when did Ozzy become an actor?”, he then pleads, “please make this stop, stop, stop”, and on the final one, they do.
The Offspring – ‘Can’t Repeat’ (Greatest Hits, 2005)
Most people outside the punk world mainly remember The Offspring for the comedic 1998 hit ‘Pretty Fly (for a White Guy)’. However, the band has a host of classics to their name, with them a highly influential group on the proliferation of skate and pop punk. Their best pieces include the likes of ‘Self Esteem’ and ‘The Kids Aren’t Alright’.
Another of their most cherished cuts is 2005’s ‘Can’t Repeat’, with it the only original track on that year’s Greatest Hits compilation. Frontman Bryan Holland sings, “And I’m just wishing we could stop,” on 2:50 at the end of the last verse, ordering the band to halt before the final chorus.
Mark Ronson and Bruno Mars – ‘Uptown Funk’ (Uptown Special, 2015)
This ubiquitous hit had to be on the list, as it might just be the most famous example of a song using “stop” to break up a rhythm. It was hard to get away from this song when it came out nearly ten years ago, with the groovy funk and disco mesh even penetrating the brains of the most unwavering pop-haters.
The “stop” in this song comes via singer Bruno Mars, who tells us all -from the band to the listener – to stop for a hot second whilst he gets a refill of his alcoholic beverage, in a remarkably contagious way. It was also a sharp means of giving us all a break from the semi-incomprehensible lyrics. At 1:32, Mars sings: “Stop / Wait a minute / Fill my cup, put some liquor in it / Take a sip, sign a check”.
