You've heard the a cappella version that was doing the rounds here some months back. It's pretty amazing.

...but can't find it. No, it was the - thanks, Rock Band - song with everything removed but Jagger and Merry Clayton. Will keep looking.

... and that "brpppppp!" in Give Me Just A Little More Time.

Is that how you spell "brpppppp!"?

....just coming out of the solo in the last chorus, where after three minutes of determinedly going "boom-tit-boom-tit", Phil Rudd suddenly goes "BAM-BAM-BAM BAM! BAM!" in unison time with the guitars and bass. Magic.

Also, this is technically off a bootleg, but when Radiohead did Paranoid Android at Glastonbury in 1997, there's a bit in the "rain down" section when Ed O'Brien is singing the "rain-downs" (he's a GREAT backing singer, incidentally). It's specifically on "the yuppies networking / the panic / the vomit", when Thom and Ed's voices just mesh perfectly with the mellotron, and after about three thousand listens over the last 12 years, it literally raises the hairs on my arms. So gorgeous.

Oh, and the bit in "Bitches Ain't Shit" by Ben Folds when they all holler "THAT'S SOME REAL CONVERSATION FOR YOUR ASS!" in perfect three-part harmony.

There, I've cited one moment of glorious rock, one moment of sublime beauty, and one moment of comic genius (for once coupled with serious and lovely musicality).

but there is a bit in Stepping Stone by Duffy that raised the hairs on my arms everytime! About 2min 30sec in when she starts singing again after the bridge - her voice is just sublime!

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As I have an embarrasing one out of the way I will now try to redeem myself;

1) 27 seconds in - Blue Boy by Orange Juice when the chorus kicks in

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2) 1min 26secs in - Avril IV by Aphex Twin, the piano is exceptional.

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3) 1min 4secs in - So Ends Another Life by Status Quo - one of the best choruses ever written - the backing vocals are brilliant!

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4) 2min 58secs in - Apartment Story by The National - when the chorus finally goes up a nothc as its been threatening to all the way through!

"Ugly" - when it stops mid song and JJ yells "It's only the children of the fukcing wealthy who tend to be good looking". Still gives me a thrill to this day.

The middle-8 in Big Star's September Gurls goes, "When I get you back late at night, that's the time she makes things right, ooh when she makes love to me..." then the backing vocals do a beautiful , soaring "Ah-oo-oo..". Magic.

PS The Beatles Rain is absolutely jam-packed with 'em

...Eno's keyboard bit, 2 minutes and 10 seconds into Roxy's Virginia Plain?

In Costello's KIng Horse "Meanwhile back in some secluded spot, he says 'Will you please' and she say says 'STOP'"

In Costello's Green Card "I never said I was a stool pigeon, never said I was a diplomat, everybody is under suspician but you don't wanna hear about THAT"

There are loads of others, many NOT by EC but those are my immediate joyous bits.

When his voice breaks : 'everybody else is just gree.....een' halfway through Have a Cigar on Wish you were here. Always loved that moment, and wait for it to happen every time that track starts

...by Del Amitri. There's a moment towards the end when the lyrics go:

"But unless the moon falls tonight,
Unless continents collide"

...when the music swells and does something probably key-changey that I as a musical illiterate don't understand but that makes my heart leap every time I hear it.

George Jones - "He Stopped Loving Her Today".

When the strings swirl in at 1:54, after he sings "he stopped loving her today" - top of the shop!

Also, I could pick any number of moments from Kevin Rowland's "My Beauty" (Not on youtube or Spotify), but my favourite is Rag Doll, especially for the part about 6:40 when the choir of backing vocals are soaring, and he says

" that beautiful choir, they're all singing for you, all singing for you, that's yours, belongs to you.... it's great, it belongs to you .... it's great, it's telling the Truth ... the Truth & the Word ... it's over, the bad stuff's over ... here we go ..".

It's a great album, about his fragile state, his gradual return from breakdown, and he sings the bejasus out those songs.

Lastly, The Stooges : I'm Sick of You. The 8 beats on the closed hi-hat before the guitar solo are magnificent. (at 4:16)

A mate gave me a couple of discs some years back with a whole bunch of Basement Tapes stuff on them - and I heard "I'm Not There' for the first time. Rare I can remember first hearing a song, as I have such a lousy memory. But I do remember this. After the first chorus (if you can call it that), heartbreakingly fragile and desperate, that miserably emphatic 'I'm not there, I'm gawwn' just kills me, every time.

from Joni Mitchell's Edith and the Kingpin. It just gets to me every time.

Just around 2.39, when those horns kick in..

By Gigolo Aunts.

The three hi-hat strikes which lead into the instrumental break from the middle eight, winding up the intensity at 2:13. Always gets me all excited.

This track was one of my favourite intros, too, but then I'm really quite unbalanced about this song (and album). After a (relatively) tuneful instrumental break, Lydon comes back in at 3.10, as if to sing another chorus. A mere seven seconds later and he gives way to an indistinct yell, as if too disgusted to continue - and capturing that feeling perfectly, the band explode into more guitar mayhem. Brilliant.

Er, I'd probably also vote for Art Garfunkel's final note over Paul Simon's ringing major chord in 'For Emily, Whenever I May Find Her':

to list, but one of my favourites is Paul Rogers on Free's All Right Now:
"Let's move before they raise the parking rate - OW!" Classic!

"Fish lady, oh fish lady"
I don't know why - there's just something about it

1-2-3-4 the highways jammed with broken heroes....

The whole song is a masterpiece but from 3.15 in this clip the sense of anticipation and excitement is fantastic.

A main contender must be Dylan and the Band at the Albert Hall(sic) in '66 just before Rolling Stone where you can here Bob, off mic, say, "play loud, play f - - - ing loud!", the snare hits like an cannon and they rip into what's still the greatest performance ever of this song. Right song, right place, right time...

The bit from 3.06 -> 3.36, Thom York's climb up and then holler at the top of his register. I never want to put it on unless I have the opportunity to lose myself in it for half a minute.

My favourite 'moment' struggles to qualify as it is barely long enough to register. The initial high pitch squeal (some of you guitar teccy lot probably have a more appropriate word than 'squeal') that signifies the start of the last guitar solo of Comfortably Numb. It lasts approximately half a second but floors me every time.

From Infrared Roses by The Grateful Dead, the bit at the end where Mickey Hart plays the tone beam and it sounds like a god talking. Not really a song, not very rock and roll and of limited interest to all I suspect - but gets me every time.

This or Mr Zoot Horn Rollo hitting that long reeling note and letting it float on Clear Spot.

where Steve Marriott and Pat Arnold (I think) harmonise with 'cause I Lo-o-ve you' and the drum fill comes in like a set of collapsing stairs, and you just want it to start again.

Also the bit with the staccato piano chords where it goes into 'I don't need no aggravation'. AH, the whole song is peerless.

Also on Warren Zevon's 'Johnny Strikes Up The Band', where he shouts 'Go!' and Waddy Wachtel cranks into his solo.

And on Joe Ely's 'Cornbread Moon' (I've mentioned this before), where the drum 'pick-up' takes it from a 'Train' rhythm into a Western Swing shuffle.

by XTC

The bit just after the 'string break' when Colin's bass comes in and it resolves to the chorus, about 3m 10s in. The audio quality on this clip does not do it justice but of course it's not on Spotify.

When you get a chance to listen to a decent version and flood your senses it is a truly hair-tingling experience.

Glissando harpy noise in Joy Division's "Atmosphere"

Doo-Doo-Doo-Doo-Doo-Doo
with the piano answering back - just like car horns disappearing into the night - wonderful ambience.

Over The Hillside by the Blue Nile gets the same effect. The intro gives you that sensation of lights and floating on the water, with a slowly turning wheel and chugging engines.