"Tried to please her"

" You can talk to me"

... "brrrrrrr!" from the Chairmen Of The Board's "Give Me Just a Little More Time."

real great list, awesome list, love those songs too.,.

The way they suddenly do a very brief harmony for the word "man" in the line "Why don't you be a man about it?"

by Aretha when you think it's ending and it kicks back in again.

1)The cello bit after the first chorus in Heartbreaker by Dionne Warwick
2)The little high pitched solo bit near then end of Buddy Holly by Weezer
3)The trumpet part in the chorus of Tracks of My Tears

The bit where McCartney's voice sounds like it's completely shredded in Golden Slumbers (particularly on the remaster ) - "Smiles awake you when you rise"

The version of Depeche Mode's Enjoy The Silence which is just Martin Gore singing with a harmonium (called the Harmonium mix) and the way he sings "pleasures remain, so does the pain"

...because they're not actually there at all; I'm talking about the exquisitely timed gaps between 'Debaser' and 'Tame', and between 'Tame' and 'Wave Of Mutilation' on "Doolittle" by The Pixies.

After that, it's Iggy's scream between 'Loose' and 'TV Eye' on "Funhouse".

The way Sam elongates 'gang' on 'Chain Gang', gets me every time
The bass on Stand By Me
The first horn break on 'I Can't Turn you Loose'
The guitar on Shaft

This song has so many great wee bits I love:
The horns intro
The stabbing organ
The tempo change and especially the guitar, presumably Steve Cropper
The wee scat singing fill at the end 'You got to, got to, nanananaaa....'

The Right Profile:
ARRRGHHHGORRA BUH BHUH DO ARRRRGGGGHHHHNNNN!!!!

(What does that mean?)

Not a vocal inflection, but the bit at the start of White Man in Hammersmith Palais, before the "1-2-a-1-2-3-4" and the main riff.

the organ coming in after line 'and the man on radio wont leave me alone' on Gram Parsons Return Of The Grevious Angels

The intro guitar to Haywire by the Jayhawks

the line 'I could move away, probably will someday, from Faded Glamour by Animals That Swim

The dreamy bass line and vibraphone at the start of I Choose You by Paris

The opening long note on Warsawa by The Dame

The tambourine bit in Atmosphear by Joy Division

The electric piano at the end of Mask by Bauhaus

God, where do you stop?

'Complete Control' line near the end where Strummer shouts "You're my guitar hero". Hairs on the back of the neck EVERY time.

On the live Shadows and Light version of Free Man In Paris, the way she sings the line '...future to decide' with a bit of a samba-ish inflection, really gets me going every time.

The final note of A Day in the Life

This thread will always have mileage; I thought I'd point you in the direction of a previous thread on this subject for what people have previously come up with.

A couple more: Eli's Comin', where Laura Nyro announces "Eli's comin' and the cards say [tiny pause] broken heart", upon which the piano shifts through the gears and drives the song into urgent ecstasy.

On Kate Bush's Never For Ever album, there's a short vocal piece called Night Scented Stock, which builds up a very complex and dissonant sounding harmony one note at a time, before reaching a perfect resolution. It then leads straight to the intro to Army Dreamers. Sublime.

The chord change just before the chorus in Neil Young's Harvest Moon.

Sorry, this is a whole verse, but it is musical and comic genius...

Well I never thought that I could get so hooked so easily,
Around the time of our lovemaking number three,
Or for the fourth or the fifth times,
That we made love behind the baggage carousel,
That couldn't be just nitemoves, baby,
Cause I felt something else as well.
Or was that only nitemoves, nitemoves, nitemoves?

by The Associates. There's a bit where Billy McKenzie has sung a soaring "alive and kicking" followed by some stunning bass. Then something happens that I can't explain when he sings "alive and kicking at the Country Club". Just hearing it in my head now is putting butterflies in my stomach.

**Edit We will never see or hear it's like again

1. The alarm clock in Daydream Believer
2. The wailing noise in Heroes and Motorcycle Emptiness
3. "they sayy" in Alternative Ulster
4. Isolation's main synth riff
5. Are Friends Electric's "Derr-Derr"
6. "don't you know you're life ... itself" Dame
7. Louis Armstrong's trumpet in All the Love in the World
8. Ghostly "oh" noises on Enjoy the Silence

and maybe it is a bit too obvious, but the Roger Daltrey scream on Won't Get Fooled Again.

On Small Hours, by JM.

The Stevie Ray Vaughan version.

"Tisket (a beat, then boooom - a rake down the bass guitar) Tasket"

Honestly it's the funkiest moment ever recorded.

When the drums kick in and the band starts on the single version The Sound Of Silence.
The point when Judee Sill's voice and the background woodwind blend as she sings the title of And The Lamb Ran Away With The Crown.
The eerie "Oooh-aah-hoo-aah-ah-ah-yeah" vocal sample in A Guy Called Gerald's Voodoo Ray.
The glistening guitar runs at the crescendo of Marquee Moon (about 8:30mins) finally relieving the built-up tension like a wave bursting a dam.

is the moment when Jimmy Page flicks the pickup switch on his guitar after the ringing, opening chord on live versions of The Song Remains The Same before launching into the main riff.

And the final chord of Hots On For Nowhere... words fail me.

The little pause in Hey Nineteen.. then Fagen says "Nice.."

The coda in The Alice Band's One Day At A Time. A riot of sublime vocal harmonies.

The bit towards the end of Blue Öyster Cult's Death Valley Nights when it should be winding down but, instead, cranks up to a more intense level of Buck Dharma-led guitar.

The "pow-pow-pow" before the instrumental break in Where I Find My Heaven.

Azeem's right. Endless potential.

'When the Levee breaks' when the harmonica comes in and it just gets swampy...
The fade in from 'I wasn't born to follow' - boingy.
The bit just before the chorus in 'Capital' by the Gang of Four
'Elvis was a hero to most' in Fight the Power by Public Enemu
The swirly psychedelic part of Powerline by Husker Du

Where the piano flourish comes in at 3:59 at the end of Roy Orbison's "She's A Mystery To Me" . Majestic

Freddie Mercury singing "It'll drain the power that's in youuuuu" in Queen's "Too Much Love Will Kill You". Tear to the eye.

by Townes Van Zandt where he chokes up on the last verse

"Sixteen months hard labour
seems.....fair enogh"

Just the way he says that last bit, makes me chuckle everytime

There's a splashy open hi-hat that counts in the fast section in "I'm Sick Of You" which always thrills me.

There's a cough in "Frank's Wild Years" which is genius - I think it is just before he says "never could stand that dog"

'Your Latest Trick', off 'Brothers In Arms' which only appeared on the longer CD version and not the vinyl I had. Better than most of the album for mine.
And the run out chords/noodling on 'Mercy//Killing' by Lloyd Cole on 'Lloyd Cole'.
And the run out chords/bassline of 'It Falls Apart' by Odds off 'Bedbugs'.

Bit of a theme appearing here.

When Marc Bolan gasps & moans on 'Hot Love' my first girlfriend always got a *tingle* - thank you Marc.

...but the drum descant (is that the right word) on ABC's Poison Arrow reminds me of being a teenager, which is nice