The boys choir intro to You Can’t Always Get What You Want.
Probably my favorite line in any Beatles song, from “Penny Lane”: Though she feels as if she’s in a play/She is anyway
Mine might be
Well the doctor came in
Stinking of gin
And proceeded to lie on the table. (Rocky Raccoon)
or possibly
She was well-acquainted with the touch of the velvet hand like a lizard on a window pane. (Happiness is a Warm Gun)
or maybe
If you go carrying pictures of Chairman Mao
Ya ain’t gonna make it with anyone anyhow. (Revolution)
ok seriously
Waits at the window, wearing the face that she keeps in a jar by the door (Eleanor Rigby)
or Lennon’s “But I can’t complain”'s (A Little Help From My Friends)
I’ll go with the tasty opening guitar licks.
Cool “Suck it!” @ 1:03 by some alt-right fucker.
Odd-sounding “thud” drum getting hit every three seconds or so in “American Woman”.
One other one: Alex’s guitar peeling @ 7:51 at the end of Neil’s fill in Rush’s “Xanadu”.
Three bits from Roxy Music’s Editions of You, with the first one one, unfortunately, almost impossible to hear without headphones (or just crank the hell out of the volume if you can get away with it):
Bryan Ferry’s louche “mmmmm!” @ 0:06, the goofy “WOOOOOO!” @ 2:30, and BF’s characteristic baahhing-like-a-sheep vibrato, on full display here @ 3:30
Always liked the jazzy-yet-at-the-same-time-totally-kick-ass ending to Hendrix’s Freedom, here at 3:43.
Was hoping to find the studio version, but hopefully the yummy NSFW aspect here will compensate.
One more ending: the off-the-rails piano @ 4:34 in Bowie’s (live) Aladdin Sane.
Bumping due to insouciance.
The New York Dolls come up with possibly the hottest wolf-whistle-on-steroids at 2:04 in “Personality Crisis”.
Yeah, that’s a good example of throwing a little something new in the second (or third) time a section is played in a song. Most good songs do this, I’d wager.
The change in key about a third of the way through the ***St Elsewhere ***theme. Along with the driving beat, it adds a sense of urgency and maybe potential tragedy to the music, which is followed by a little ray of hope at the very end.
Said change in key occurs just after the 1:00 minute mark in this recording:
I love this theme. It's absolutely one of the best of the '80s, as was the series itself.Maxine Nightingale’s Right Back Where We Started From–The way she belts out “get right back” with only the drum accompaniment is superb.
Yeah and with “Xanadu” being such an awesome number, I see what you mean.
A teeny weeny thing - when Robert Plant sucks in air just before he goes into “Heartbreaker”'s last verse at 3:40
Thanks for this, I love rough-around-the-edges stuff like this.
You want beer bottles getting tipped off tables? I grew up with a Clancy Brothers album, live from a pub, where a bottle broke. “Hit 'im again!” laughed a Clancy. And another said “Ah, Ireland. The land of happy wars and sad love songs…”
Not on YouTube, but Ryan Adams and Gillian Welch did a very homemade but haunting “Dancing with the Women at the Bar” at a bar, with lots of bottles dropping and chairs getting dragged around. Also has a drunken ad lib: “This isn’t my gig… so I’m… not going to say anything.”
Jimmy Page’s greatest ever bit:p: atonal high note at 4:46 in “Dazed and Confused”.
Two “instrumental bridge” moments: When the brass kicks in around two-thirds of the way through Petula Clark’s “Downtown,” and the soaring strings before the final chorus of the Shirelles’ “Will You Still Love Me Tomorrow?”
Always liked that. Always thought I was one of like 3 people in the world that noticed it. Glad you’re the 4th. 
My favorite instrumental bridge moment: in Lynyrd Skynyrd’s “Call Me the Breeze”. In the second 8 bars of the piano solo…not the piano part, but the horns in the background. That little Doo…[rest]…da dada da dah dah dah dah, dooo…is the coolest. thing. ever.
Yay for the 80s! Here’s Carly Simon in “Let the River Run”. I love the energy in the lines (it’s cued up to them) “Oh, my heart is aching/We’re coming to the edge, running on the water” and then the key change at 1:19
Speaking of Carole King, here she is singing “It Might as Well Rain until September.” I love the strings (plucked and otherwise) and multiple key changes.
I don’t know the exact technical/musical term for it, but the quick 7 or 8 bar guitar pick that accompanies the chorus part of the German punk band Wizo’s song ‘Kopfschuss’. It occurs 3 or 4 times in the song, the first at the 40 second mark. WIZO - Kopfschuss - YouTube
Don’t know why, but that little detail really makes the song “cook” to me.
John’s countdown at the beginning of Ringo’s (It’s All Down To) Goodnight Vienna, “Ah-one, two, one, two, three, four,” followed by, “Alright!”
The little half notes Slash plays during the vocal parts of Sweet Child O’ Mine. Not so much on the album but some of the live performances are awesome.