Mothers “Are You Hung Up?” The bit at the end, where there’s the backward psychedelic guitar, and suddenly Jimmy Carl Black screams, and then introduces himself. The scream is my ringtone on my phone and I love when it goes off in public.
At the end of Rush’s “Spirit of the Radio”, there’s some bouncy piano that’s reminiscient of the bouncy piano about two thirds into Zep’s “Rock n’Roll”, which not only harkens back to the ole Jerry Lee Lewis thing (I figure?) but just plain gives those sections a bit more more zip and pep.
Some other examples of that are on the tip of the tongue.
The blues riffs on “Radar Love”.
The off-beat cymbal crash between “…weep no more” and “my own true love” in the coda of The Byrds’ version of “John Reilly”.
The soprano-sarrusophone solos in the Playmates-soundtrack version of “Humpty-Dumpty Heart” by Kay Kyser.
The ironic cadenza on the word “Rejoice” in “’Tis done. I am a bride.” / “Though tear and long-drawn sigh ill-fit a bride” in The Yeomen of the Guard.
Also by Sullivan, the weird, syncopated, spiccato drone under “Lord of our chosen race” in Ivanhoe.
Going back to Zep’s “Rock n’Roll” - Plant’s voice cracks at points. Normally considered mistakes, here I think they’re embellishments (or maybe higlights is a better word), emphasizing a rawness most fitting with the tune and subject.
Headphones highly recommended for this one.
A soft nuclear expolsion from King Crimson in “Easy Money”
(heh - and then, a moment later, the ding of a single triangle hit, through a bloody wah-wah pedal!!!) (I think, pretty sure, sounds like)
ETA:
and really - whatever the hell this skittery thing zinging along might be:
The Doors - Waiting For The Sun
the “Waiting… WAITING… Waiiiiiiiting” part… Love it. Too bad they never played it live 
Speaking of voices cracking, Merry Clayton absolutely shreds it the last time she sings “Murder!” in “Gimme Shelter.” She miscarried the day after the session and always blamed it (at least in part) on how hard she exerted herself singing that line.
From that same album, “Hitch a Ride”: after the organ instrumental, there’s a wavering electric guitar riff that sounds like feedback, then the strum of a acoustic guitar, and then it kicks it with the electric guitar lead. Such a great transition.
Morrison’s gutteral shout after the “This is the strangest life I’ve ever…known,” still hits me between the eyes.
Love the solo in here. Hell. the whole song is awesome…
Well, a double-shot of itty-bitty-ittisms.
Always liked this nifty call-and-response here - Jimmy hits the high note @ 4:33 in “Fool in the Rain”, followed by the “answering” lower note @ 4:38.
The part in “We Don’t Talk About Bruno” where Camilo sings “A seven-foot frame, RATS along his back…”
From Peter Jackson’s Get Back documentary. At the rooftop concert, after the fourth police officer arrives and with three more on the roof, there’s a shot of Lennon singing “don’t let me down” at 39:32 (video link is cued at that point). The camera zooms in a little and there’s an extraordinary frame or three of him singing that line with an expression of pleasure and pain. If you pause at just the right moment, you see Lennon and two police officers behind him looking on angrily.
I’d like to have a framed copy of that hanging on a wall somewhere.
The backing instruments at the 30-second mark of Foreigner’s “Say You Will”, played behind the words “I can’t sleep; I keep dreaming I’m losing you” and the subsequent verse.
The off-beat cymbal crash right before "My own true love” in the coda of the Byrds’ version of “John Riley” (album “Fifth Dimension”).
The hopeless way Andrea sings “an American girl” in the Corrs’ and the Chieftans’ joint version of “I know my love”.
Without question the lamest, most tired-sounding, phoned-in guitar passage James Page has ever played, but at least it ends on a supremely awesome note with the “growling” effect he gets at exactly 1:06:44 in “The Wanton Song”.
A thing I liked about The Cars (apart from how blown away I was by its sound when that first album came out) was how, in the four measures* comprising the third (and final) verse in “Just What I Needed”, the snare shifts to the downbeat on the second and fourth measures, for subtle tension-building.
*Being that four bars comprise one measure (if we’re hopefully speaking the same musical language in this particular instance.) 
Hmm, don’t you mean beats instead of bars?
Yeah, the alternating patterns are really cool. Up to and including the guitar solo, the snare is on 2 and 4, and after that the drummer switches the pattern every two lines of verse. Hadn’t noticed that before!