that starts "I will Follow".
Just reaches out from the speakers and grabs your ears and says LISTEN!
U2 maybe past their best now, and Bono maybe a prat of the first order, but, jings, when they were good,they were very very good.

When Levi Stubbs cries, 'Just look over your shoulder,' towards the fade out in The Four Tops' classic.

Every single time...

you're so right. Always sends a shiver down my spine.

One of my favourites comes courtesy of Charlie Watts on the live version of Start Me Up from the Stones' 'Still Life' album. It's the moment he enters the song... a couple of sharp beats and then this delicious pause before he restarts with the bass drum and (I think) hi-hat. It sounds slightly odd, like he hasn't come in on time, but it just works absolutely brilliantly.

I know nothing about drumming so it's difficult for me to describe... if there are any drummers out there who know this version well and can explain to me exactly what he does and why it sounds so utterly amazing, I'd be very grateful.

...Keith Moon's entrance on Baba O'Reilly. Try listening without miming along (this may not apply to women).

on Heartbreaker at the end of the wig out, just before it all goes a bit 'sane' again

I'm beginning to think Animals is the Pink Floyd album I play and enjoy the most, I've kinda used up and spat out Meddle, Atom, Dark and Wish. Momentary was a big fave for a long time till I decided to revisit Animals.

now all I need is a decent bootleg (I have two ones from that tour and they're not quite up to my standard)

When I listen to some albums, I find there's a certain point that acts like a kind of summit, or epiphany - the climax of the listening experience. The hair goes up on the back of the neck. It's not simply the loudest part, or the final chorus, but you know it when it happens. And it's entirely personal.

Two examples that get me every time: in 'Hello Earth' from Kate Bush's 'The Ninth Wave', at "..all you fishermen....". And Saturday Night, the last song on 'Hats', when the strings reach their zenith about 4 minutes in.

That bit in Love Shack when it all stops and then you get the "You're What?"

And the bit in Ara Batur by Sigur Ros when the choir joins in. Heavenly.

on Ok Computer as Thom Yorke is about to sing the chorus for the last time and reaches the line "..bouncing back and one day...." and reaches a note so high and seems to hold it forever that I have to stop whatever I am doing, everytime I listen to it. It's their best song, by far.

I think Rob Fitzpatrick started a very similar thread to this last year.

Anyway, I'll say now what I said then. It's the bit in Grace by Jeff Buckley where he holds a note for ages, the guitars swirl round and just when you think he can't hold it for any longer, it goes even higher. Gets me every time.

This may just be me, but also the bit when Lisa Hannigan's vocal comes in on Damien Rice's The Blower's Daughter is utterly goosebump-inducing.

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

The harp entry in Radiohead's Motion Picture Soundtrack (1:39)
The arrival of "the beat" in Our Mutual Friend by The Divine Comedy (0:44)
The siren-saxophone in This One's From The Heart by Tom Waits and Crystal Gayle (4:12)
Frank Sinatra saunters up to a note in such a way I actually hold my breath, in Don't Worry 'Bout Me, from Sinatra at the Sands (1:15)
The horns come in, Hard Times (No One Knows Better Than I) by Ray Charles (1:45)
(Several edits - too many to list really...)

it's Merry Claytons voice cracking at the third 'Rape, Murder' on Gimme Shelter for me!

Talking Heads 'Found a Job' - the instrumental outro starts and the band lock in to this hypnotic riff ('Stop Making Sense' live version equally good for this moment, funnily enough).

The way Mark Eitzel half-breathes 'Saturday morning...' when he comes back in after the instrumental break in 'Sacred Heart'.

Launching into the heads-down twin-guitar section about 4 minutes into Iron Maiden's 'Phantom of the Opera'.

Anytime Jarvis Cocker says 'Alright' on a Pulp record.

Art Garfunkel holding the final note on S&G's 'For Emily, Whenever I May Find Her'.

Special mention for Radiohead - totally agree with the praise on the thread for 'Let Down', but they are really, really good at creating these spine-tingling moments...

Towards the end of 'Airbag' when you realise in all the mayhem that the intro riff has come back. The point in 'Go to Sleep' when the band suddenly drops to a quiet shuffle and the song seems to slink away. The first time you hear the chorus in 'Lucky'. The way 'Planet Telex' kicks off at Thom's first line. Incredible band.

Listen to Mark Burgess impassioned vocals on The Chameleons' magnificent "Is It Any Wonder?" about 3 1/2 minutes in when he sings "is it any wonder that they think I've lost my mind". In a song that has more peaks than the Andes it sends shivers down your spine. If you haven't heard the song rectify that right now and if you don't agree it's a masterpiece then cut your ears off as you are obviously better off without the gift of hearing. It's on "Return Of The Roughnecks" compilation album(disc 2) which can probably be found on itunes. I envy those who will hear this for the first time.
Let me know what you think.

Opening track on Smiths "Queen is Dead" (er) "Queen is Dead" as it fades from Take Me Back to Dear old Blighty into the drum roll.

Jools Holland's piano solo in The The's "Uncertain Smile"

The "orchestral crescendo" in the Beatles "Day in a Life"

The back-ground synth in Joy Divisions "Day of the Lords" (more so on vinyl,lights off and ear phones on)

Break 2.40mins on Miles Davies "Round Midnight" where he comes in loud for the next section with Philey Joe Jones.

Dylan singing "I met a white man who walked a black dog, I met a a young woman who's body was burning" on a Hard Rains A-Gonna Fall

Johnny Marr's understated feedback solo kicking in on 'Forbidden City' and 'Get The Message' - stunning
Kevin Rowland on Dexy's 'This is What She's Like' after about 6 minutes we are none the wiser but he decides he's going to tell you 'I’ll present a picture of what she’s like
You’ll be in no doubt as to what she’s like But listen close
Listen close now here' and the song goes off in to the stratosphere - genius.

How about when Ian Curtis sings "here are the young men the weight on their shoulders" in 'Decades' by Joy Division. And the synth 'breakdown' in the middle of the track.

Yeah.

What?

They had a drummer called Ken Pustelnik and about 45 seconds or so into Cherry Red he hits what could be a cow bell.....quite brilliant and probably unique.

The chord change after the fifth "A Shot In The Arm" in the song of the same title by Wilco.

The bit in Arcade Fire's Wake Up where he sings "Children wake up, hold your mistake up"

The bit in Macca's "Uncle Albert/Admiral Halsey" that goes "And a butter pie/A butter pie?/The butter wouldn't melt so I put it in a pie"

The bit of speech that begins and end The Wall: "Isn't this where" "We came in"

And a vote from me for Let Down too. And the "Get Me Out Of Here" backing vocals on No Surprises.

I know more moments will come to mind in the next few days...

From 3'55" of 'Taking Islands In Africa' by Japan -
From the start of Witchita Lineman - Ba Ba, Ba Ba Ba.
From about 5'11" of Newborn by Elbow - 'Nothing Could Be Wrong'
From the first slide of the bass note and the vibe coming in, on 'Solid Air'
The whole thing - 'Sunshine [Come on Lady]' by Josh Rouse
0.45s into 'And Dream of Sheep' [when the radio voice comes in] - Kate Bush
The whole of 'Rock n' Roll' by Led Zep
The piano in 'Satellite of Love'
From about 1'26" into the 'Intermezzo' of Mascagni's 'Cavelleria Rusticana'
9 seconds into 'Holes' by Mercury Rev when you first realise you are listening to something special
All of 'Van Occupanther' by Midlake from 'The Trials of Van Occupanther' [but especially the moment when the piano comes in after the first drum intro/roll/shuffle/thing]
and more
and more
and more

This is the thread that could run & run

droll track Rock'n'Roll when all but one guitar stops and Lou is heard to say 'and it was alright - are you listening to me now?'. That's rather cool.

I'm no classical buff, but this is an extraordinary piece of music, particularly the crescendo at 6:35, the equal of the Beatles "Day In The Life" moment for me (though a lot shorter).

Bernie Worrell's squiddly synth solo towards the end of Jam Fan (Hot) by Bootsy's Rubber Band

When Lennon takes charge with "Ohh AND THAT boy won't be happy..." on This Boy

When Pat Metheny takes his first solo on "In France They Kiss On Main Street" off Shadows & Light and it's confirmed that Joni & Jaco with Lyle and Pat is as great as you'd expected.

When Prince/Camille's voice cracks on a "pleee-eeeaasse" in "If I Was Your Girlfriend"

The bit in "Starless" off King Crimson's Red where Fripp has taken the ascending guitar figure about as far as he can and then Mel Collins comes to the rescue with a scorching soprano sax solo.

I really like when Zappa cracks himself up and then recovers in the spoken intro to Muffin Man on Bongo Fury as well.

The way it fades up at the start, like an approaching cavalry of Rickenbackers. Still gives me goosebumps.

From Scott 3

From the second verse, when it feels like the armies of heaven/hell are riding in.

And while I'm talking about Scott Walker - the final verse of Mathilda, when Scott appears to be fighting to be heard over the orchestra.

at the start of "I Feel Fine"

in Squeeze's "Some Fantastic Place". This is feasibly the best guitar solo ever - short, to the point but technically and melodically brilliant. A true shiver down the spine moment every time.

In 2 Hearts, Tomorrow the Green Grass/Jayhawks curdles the old blood every time.

Hots On For Nowhere. It is the gargantuan oomph of Zeppelin condensed into a single second.

Lou Reed's chuckle after the "Plead for me" line in Venus in Furs.

The three minute mark of The Wanton Song when the riff kicks in again.

When the girl in "Great Gig in the Sky" says quietly and defensively "I never said I was frightened of dying"

Listen to Megalomania by Black Sabbath. 3 mins 20 seconds of slow build up then Bill Ward kicks in with the cowbell and Tony Iommi lays down a riff that'll rip your eardrums out! Metal perfection.

That "Let Down" moment. It was responsible for a very embarrassing loss of control whilst sitting in stationary traffic, witnessed by approximately thirty amused pedestrians.

An honourable mention also goes to the burst of sax at the beginning of "Tenth Avenue Freeze-out".

And many, many, many more......

Another spinechiller for me is Roy Bittan's piano solo at the beginning of Backstreets

opening guitar riff on Stay

entry of guitar - bass counterpoint - on Secret Life of Arabia

the first - uh-uh-uh-uh-uh-you'll make it - Aladdin Sane

http://open.spotify.com/user/sheevmaster/playlist/7xi9rS6EIt2BOhHAZJUo8L

The appearance of the string synthesiser (if that is what it is) in the latter choruses of "Make Me Smile"/Cockney Rebel.

...(second) howl in Smokestack Lightning - it's like that feeling you get in your stomach when a car you're in goes over the crest of a hill.

	Howlin Wolf - Smokestack lightnin
	Found at skreemr.com

Funny how one idea sparks off another.....
Morrison's "oooo-uh" in verse 3, "Crawling King Snake"/L.A. Woman, just before the spoken "Let's crawl awhile......"

the bit where all goes lovely and orchestral and quiet - I could cry it's so beautiful.

"And my friends they tell me, 'Martin maybe one day you'll find true love'...'I say maybe' from ABC's The Look of Love

The bit where it really kicks in Queen Bitch after the whispery intro

...and many, many more

At 4:16 the count of 8 on the hi-hat before the guitar solo - ROCK ACTION!

"I got my hands all ready to touch your soul/ I'm gonna get the energy to wire me close to you"

From "The Promise" by Girls Aloud - Nicola's breathless delivery is their finest recorded moment

And the gospel choir slowly joining in with Mike Patton at the end of "Just a Man" on 'King for A Day, Fool for a Lifetime by Faith No More'.

Pink Floyd's The Gunner's Dream when Waters sings the line "And hold on to the dream" and it seamlessly blends into the sax solo. That's good.

The rising crescendo of the instrumental break at 1'52" in Prefab Sprout's 'Bonny'

The sharp intake of breath at the start of Teenage Fanclub's 'Your Love is The Place Where I Come From'

The 2 bass drum "whomps" in the 3rd and 4th lines of the 1st verse of The La's 'I Can't Sleep'

The change in tempo at 2 minutes in Laura Marling's 'Ghosts'

The bit when Terry Callier sings "Here am I/ And there you are" in 'Dancing Girl'

When Jools Holland's piano comes in at 3' 26" on The The's 'Uncertain Smile'

The tiny gap between the horn blast in the intro to 'Land of a Thousand Dances'. After Wilson counts 'em in, there's a whack of the snare and the horns then this wonderful, minute pause and they do it again.

The line "I wish you well" and the church bell ringing straight after (at 2 mins 52 secs).

The moment when Turner sings, "and I crumble completely when you cry." and it all clicks together.

I'm always fond of the bit in Supertramp's The Logical Song where he sings "one, two, three, five".

Other than that, the aforementioned Floyd moments yes, and a magic little Lyndsey Buckingham lick that last lasts a couple of seconds about half way thru You Make Lovin Fun.

On Skylarking - the segue from "Drowning Here in Summer's Cauldron" to "Grass"

You know the one. Pastoral shiveriness....

The bit in Orbital's 'Spare Parts Express' when the sample from John Craven's Newsround kicks in.

The bit in 'Five Minutes' when JJB sings "And if you hassle me mister/ I might just lose my head"

The bit in Massive Attack's 'Risingson' when the hard and brittle exterior of the song is shattered by the words "dream on".

The bit in Miles Davis's 'In A Silent Way/It's About That Time' when the tension is finally broken with Tony Williams hitting the snare drum full on for the first time.

The bit in The Replacement's 'I Will Dare' when the mandolin kicks in.

but to a smaller massive: Glastonbury, early mid 90s, saturday morning circa 5 a.m. very loud all night techno suddenly incorporates a loop of syncopated church bells. An almost transcendant moment as my sleep deprived body squirmed in my sleeping bag. What/who could it have been? Was I hallucinating? Is it available as a recording anywhere?

where they go 'Now-ow-ow-ow-ow-ow to me' it the best pop moment of the last few years for me.

And the bit in Kate Bush's 'This Woman's Work' where the cellos kick in. Makes my speakers shake and my eyes leak.

The moment when Adrian Smith´s and Dave Murray´s guitars find each other again in the main lick after they have both played solos in The Trooper, best witnessed live on Live After Death. 2:55 folks, that´s the moment.

There are MANY more from a band keen on detail. Any Maiden fans here?

Such a hoary old cliché, but when it works it really works...

Ain't no Mountain High Enough by Diana Ross
Wedding Bells by Godley and Creme
The intro to Mercy Mercy Me by Marvin Gaye

More to follow...

The bit in Gimme All You Lovin' where Billy sings "You gotta have a shot" and then scrapes the plectrum across the strings. Everything that's good about rock music is right there.

Elvis Costello & The Attractions - Man Out Of Time

The 12-string chord that switches the screaming intro into the main body of the song.

I just wish I didn't always get to the party so late:

The bit in On The Radio by Regina Spektor where her voice just does something amazing during the lines:

A million ancient bees
Began to sting our knees

While we were on our knees
Praying that disease

The bit in the track Wet Sand by the Chilli Peppers where he finally after 5 minutes sings what I guess you would call the chorus.

Each bit in Band On The Run where the song changes entirely.

And from this morning on the District line, the guitar refrain from John, I'm Only Dancing where the song peaks if you will.

"Pictures from Life's Other Side". When the fairground organ intro ends and a killer electric guitar riff comes in. Sublime!

Alice Donut's "Lisa's Father (Waka Baby)" when the abuser, Lisa's father, says "I'm never going to hurt you again" and Lisa says "Oh really". Then it all goes off.

Or, Ministry's "Jesus Built My Hotrod" when the lightning fast guitars and drums kick in. It gets faster from there.

Or, Dead Kennedys "Forest Fire" about 40 seconds in after Jello Biafra's spoken word bit. Hardcore punk at it's best.

According to this obituary

http://www.guardian.co.uk/news/2004/feb/04/guardianobituaries.artsobitua...

Milt Bernhart achieved this...'In a mere eight bars, his rampaging brassiness lifts the song to a new level of intensity, providing a counterpoint of Dionysian ecstasy to the singer's Apollonian self- control.'

All I know is that's it's a mighty and magnificent moment in Frank, Cole and Nelson's swinging loveliness. Surely the finest 'that bit in that song' ever.

The very opening bars of "The Body Of An American" by The Pogues. It starts with a flute that sends shivers....

The very opening bars of "The Body Of An American" by The Pogues. It starts with a flute that sends shivers....

Radiohead again - 15 Step: very fond of the bit where Thom sings '15 steps then a sheer drop' and the song pauses and there's a keyboard bit which somehow evokes the feeling of said drop. Then it all goes a bit more funky with that sound effect like kids in a playground.

Then there's Rolling Stones 'Shine a Light' where Mick sings 'may the good Lord shine a light on you, warm like the evening sun' and the beautiful guitar that follows somehow evokes the warm evening sun, miraculously, to my ears anyhow.

1. The guitars at the start of Sonic Youth's "Youth Against the Fascism"
2. The strings at the start of Bill Wither's "Harlem"

When the choir comes in with 'Happiness'. Lovely.

Elbow 1 - the London Community Gospel Choir coming in for the first time on "Ribcage", on "(Let the) sun inside"

Elbow 2 - the space age bleeps after "There's a man on the door with a head like Mars" on "Forget Myself"

Squeeze - on "Tempted", Paul Carrack's "eeeurgh" (well, you spell it then!) before "Tempted by the fruit of another" towards the end (plus the Elvis Costello phrases earlier, if I'm allowed some more)

The point where Bonham turns the beat around for one bar, resulting in a sound not dissimilar to him throwing his kit downstairs

The little high Hammond figure 55 seconds in - it stands out amongst the overall slabs of Hammond chords

The tiny slide glissando between "ahhhh, does she know" and "Does she know, she hurt me so". Blink and you'll miss it but it sums up all the pain and heartache about which the big man is singing.

"I dreamed of 747s over geometric farms"

Paints me an entire picture in one line

The first 10 seconds, the tight little drum roll and the guitar riff with the "ahh-oo oo" backing vocals. Makes me sit up and take notice every time.

http://open.spotify.com/track/6pEjJfpxyHwLcvcWMqVyyd

The snare crack that was heard around the world and Al Kooper's organ throughout, but especially the top end figures under the chorus

...in various Lee Perry productions, most notably The Congoes' Heart of The Congoes, when at judicious moments the sound of the cow outside the Black Ark's window is incorporated into the mix. It shouldn't work. It does.

Oh, and while I'm here, the automatic firearm as percussion instrument in the choruses of MIA's Paper Planes.

Also love the the way guitar solo teeters on the edge of screeching feedback in Springsteen's Streets of Fire. Bruce gets nowhere near his due as a hot axe man.

Five o'clock World - that rush when he suddenly goes into a completely different song for no apparent reason, "I Know A Place". Just glorious.

And the bit where he repeats "Thank God for you!" before the instrumental break.

Several times during the Jon and Vangelis track. The instrumental. When Jon comes back with 'YOU ASK ME WHERE To BEGIN'. All of it, basically. Hmmmm...

When Guthrie finally releases the guitars after holding back for what seems hours...

Ok, how about this: Clover Over Dover by Blur on Parklife. At 2m 09s in, Damon sings "And now the bluebirds are over..", and then the other instruments cut out momentarily, exposing a sublime four-note bass riff before he sings the next line "Over the White Cliffs of Dover." This trick is employed again before the end of the song but never quite as effectively.

In Ten Storey Love Song by The Stone Roses there's a great bit 1m 16s in. Ian Brown has just sang "When your questions go unanswered / And the silence is killing you" and John Squire weighs in with a joyous guitar riff. Unfortunately the song falls a bit flat when it gets to the chorus a few seconds later.

Mani's bass-playing all the way through Made of Stone is superb, especially at 3m 00s. The bassline here particularly reminds me of Bowie's China Girl.

In The Things That Dreams Are Made of by The Human League, I love the way the synths seem to take on a life of their own during the chorus as Phil Oakey sings: "These are the things / These are the things / The things that dreams are made of".

2 bits, the "heeeeeeeeeeey"s in every chorus and then, at about 2.24 whwn the organ comes in.
Breaks me up every time.
Play it as loud as you can.

the bit after the first (quiet) chorus of this is the one where the opening riff is repeated and the whole band crash in and they sound like The Magnificent Seven riding into the sunset, after saving some town> total joy!

On Let It Be from the Anthology, the end bit of banter when John says, "I think that was rather grand, I'd take one home with me". Just gives off the overly sentimental idea that even near the finish, with all the other stuff that was going on, at the heart of it, they were still the Fabs.

I appear to have got something in my eye, just look away, it'll pass.

...in the Smiths' I Started Something I Couldn't Finish

	The Smiths - I Started Something I Couldn't Finish
	Found at skreemr.com

The bit just after the line "California tumbles into the sea" where the saxes do a gorgeous descending unison figure

It's at 3:40

http://open.spotify.com/track/2UM47FaoUxjeRKs24UNOpC

In live renditions of 'Carrion' by British Sea Power, the song is extended for a while, with great momentum. Then it calms down for a few bars, the bassline slides back in, and then...

This incredibly beautiful, haunting, ethereal wailing enters your ears, and it sounds like nothing you've ever heard before. It's made by Noble, the guitarist, actually holding his guitar up to his face, and singing into his guitar pick-ups. I don't know how it works, but believe me it does!

Immediatly after this, Yan starts singing/shouting/screaming breathlessly while the band hammer back into the song, sounding like a last stand or something. It amazes me a little that this was never on the album version, as it's mindblowing.

If anyone's still reading this thread, seek out the later with jools holland version of this. It gives me a shiver down my spine everytime.

I love your eyes - last time around in Elbow's "Station Approach". Gorgeous.

Rather partial to the "periscope up!" bit in "Leaders of the Free World. Heaven knows why. It's just a great release to scream it while in traffic as well.

The first guitar chord in Boards of Canada's 'Dayvan Cowboy' about halfway through the song.

The first time the horns come in in Calexico's "Quattro"

The key change during the instrumental break in Camera Obscura's 'Lloyd I'm Ready To Be Heartbroken' just before the strings really swoop.

The bit in The Cars' 'Just What I Needed' when Benjamin Orr sings "time..time"

The bell sound for the main melody line on Chic's 'I Want Your Love'

The sample dialogue from Westworld at the start of Colourbox's 'Just Give 'Em Whiskey'

Just a few suggestions, as once I start I won't be able to stop (if you know what I mean):

The brief pause in the middle of The Killers' Somebody Told Me after Brandon says "Ready?", then everything kicks off again.

The key change upwards in Duran Duran's Save A Prayer - particularly good on Arena.

Pink Floyd's Run Like Hell whenever they did it live - the moment when the intro ends.

Other Floyd bits:
The Gunners Dream - when Roger sings "And maniacs don't blow holes in bandsmen by remote control". Beautiful and ghostly, especially on the remaster.
Us And Them - "and after all we're only ordinary men"
High Hopes - the combination of bell and piano in the intro, and the beautiful sound of the backing singers on "the grass was greener".

Dead Can Dance's Mesmerism - the release in Lisa Gerrard's voice after a lot of mounting tension.

The Beach Boys' God Only Knows - the closing harmonies. See also Good Vibrations - the higher notes that come in after the quietly repeated "she's given me ex-ci-ta-tions".

Back to work...

That bit towards the end of Bring on the Dancing Horses, where Mac sings 'Bring on the new Messiah, wherever he may roam' is a real knee-melter. And that great line in LA Woman by the Doors, where you can actually smell the booze on Jim Morrison's breath, as he cries 'Ooooooooohhhh Yyyyyeeeaahh!" before the rather fetching plinky-plonk piano solo.

How about Phil Collins' mesmerising drumming on Martyn's "Hurt in Your Heart" off "Grace and Danger" - especially after "I'll still feel the same" at 3.50. Superb!

Southside Johnny & The Asbury Jukes - the horn break on Without Love (2:24). Fantastic esp. played loud.
http://open.spotify.com/track/0LjE172lQb3ewH9f7AQHAb

Robin Trower: Bridge Of Sighs especially from about 3:40 http://open.spotify.com/track/1vNWj6chfZiBBzUlSHBCdC

Last but by no means least, Richard Thompson's solo on, er, Solo by Sandy Denny. Starts at 2:07.
http://open.spotify.com/track/6vPgxYGuIul5iccTc8LKh6

Ron Sexsmith's backing vox on Fountains of Wayne's Fine Day for a Parade, particularly the line "She's Thinking of it Now"
http://open.spotify.com/track/0JzG0ZK0PEIhBoL7LMCwgV

What Lindsey Buckingham is doing in the background of Tom Petty's Walls (Circus)

Neil Finn's line in Sheryl Crow's Everyday Is A Winding Road is the bit that makes the whole song. And he's only singing one note.
http://open.spotify.com/track/5gf1teoi14yF12qZtJy5fM

A class album with a couple of favourite 'bits':

In the title track where she sings "Leaving the valley and fucking out of sight"

And in 'My First Lover' - " But I was not waiting for a white wedding gown..."

Elbow, Newborn - after the quiet bit when it all comes crashing back and Guy Garvey starts with the 'yeah, yeah, yeah, yeah"

Sigur Ros, song 8 on () - it build and builds and just when you think it can't go any further it cranks up another gear into perfection.

Tim Buckley, Sweet Surrender - after the first 2 verse-ish bits "So this flim-flam lover boy, found him a flamingo.
And his flamingo, Showed him how to tango."

The Unbelievable Truth, Finest Little Space - when Andy Yorke crescendoes to "and hold your breath"

These come to mind first of all but there are others, so many others...

Pete Shelley saying 'Go!' in Noise Annoys. Or maybe the pause before.

The last line of (Believed You Were) Lucky, where Aimee Mann doesn't sing 'Life could be so great'.

The last couple of lines of Tramp The Dirt Down, when that most contemptuous of men, Elvis Costello, delivers his most contemptuous couplet.

The bit in Tw*t when he finally says the word

on Joy Division's "Atmosphere".

U2's Unforgettable Fire from "and if the mountains should crumble, or er disappear into the sea..." to the end.

Brass sequence in "We have all the time in the world", Louis Armstrong.

* s/b in the cliche thread, probably.

throughout Stevie Wonder's Boogie On Reggae Woman.

where Carole King goes "I just got to have your baby"

or Beach Boys' "Here Comes The Night" (the disco version) where they first go "doo doo, di doo doo, di DOO" and it turns into a ridiculously brilliant camp-fest

or the opening line from Horslips' "Dearg Doom": "My love is colder than black marble by the seee-ea"!

the opening bass bit in The Clash's "Magnificent Seven"

Giant Sand – Anti-Shadow

About halfway through, when the apathetic, foot-dragging blues warps into 30 seconds of shimmering, Hawaiian-tinged, psychedelic country.

http://open.spotify.com/track/7eBtAPco2kaGpEYtq8Vg5j

Lisa Germano - ...A Psychopath

The 'chorus': Ominous harp and violin create a murky backdrop for a recording of terrified woman on the phone to the police as an intruder breaks into her home.

http://open.spotify.com/track/02vhS0zPkBB9Wp2jIO9RxB

New Order - Ruined in a Day

In the second verse, when the line “Stop acting like a child” is followed by the rattle of a distant brass band, that sounds like it’s been blown in on the wind.

http://open.spotify.com/track/5gjULfX6pyTMFLGgwbXPxW

Can I just mention the moment when Michael Stipe joins in on "Kid fears" by the Indigo Girls? Anyone else gets the goosebumps there?

The laughter of relief at the end of Dave Brubeck's Unsquare Dance

The deep voice singing "rolling rolling rolling on river" on Dennis Wilson's River Song

The way Kevin Rowland sneers "For God sake burn it down" at the start of, er, Burn It Down

The opening guitar riff of Echo's 'Rescue'

The female backing vocals on the chorus of Giant Sand's 'Astonished (In Memphis)'

The "ah hoo woo" whoop in Grand Drive's 'These Aren't Words (I'm Just Gonna Write)'

...the end "My Death" in Ziggy Stardust the Motion Picture - ""For in front of that door....There is...." and the crowd all shout "me!me!me!"

...Or on the Live at the BBC Theatre disk that came with Bowie at the Beeb, when he's doing "Wild is the Wind" and the crowd sing the "...you're life itself" line for him.

I'm a bit of a sucker for the Tessa Niles vocal in Marillion's "Clutching at Straws", which for such a downbeat song, always leaves me strangely uplifted.

Perhaps best of all, the scronch that announced Hackett's solo on "The Musical Box", followed by the sublimely dischordant overdriven organ-y bit. You know what I mean.

when the band kicks into Hungry Heart and the audience sings the first verse

...but of course the US enormodomes did it best; and Meadowlands did it best of all

... every time I hear Complete Control by the Clash especially the intro and the "you're my guitar hero" bit

Also in "Shake Some Action" by the Groovies where the singer whoops - gets me every time

The bit in My Hurricane by the Blue Aeroplanes just when the church bells stop, there's a gap and the guitars VTO and go rowr.
All of the start of 'Union City Blue'

Yes, I think I will. A song you all know, the marrow curdle that is "If you leave me now" with the syrupy vocals of the hideous Peter Cetera, wheeled out at all receptions and anniversary parties employing naff discos. However, bear with me and try and rise above the singing and listen to the consummate backing. See what I mean?

when it stops mid song and JJ shouts "It's only the children of the f**king wealthy who tend to be good looking!".

I love a lot of the quiet bits or when it all drops down before build up:-

Twice As Much - in 'Step Out of Line' - 'Well I know you've got another lover, Baby I've got mine'
Jeff Beck Group 'Highways' - the piano before Bobby Tench comes back in with the vocal ' Well I've been searching'
Lowell George's 'Why Don't we go down to Old Mexico' on 'Somebody's Leaving Tonight'
The tymps on 'Love Her' when Scott comes back in with 'Hold Her, and tell her you care'

Stevie Wonder -The bit on 'Looking for Another Pure Love'where he exhorts Jeff Beck to 'play it' for him.

Also totally different - the drum 'pick-up' on Joe Ely's 'Cornbread Moon' where the rhythm changes from a 'train' to a Western Swing shuffle - brilliant!
David Lindley's final descending lap steel run on Jackson Brownes 'These Days'

"Here we are now - entertain us!"
Scary, thrilling.

You Can't Always Get What You Want - an enormous building ending crescendo, then the drums double in time - marvellous!

Page's Guitar in the (fading to inaudible) outro to Gallows Pole, always brings me joy.

Not an ending, but the pause just before Brian sings 'She's got the power of union' in Givin The Dog A Bone. Yeah!