I get properly ignored when I call them Bloaty and the Who-fish.
Not in any specific song but, when the electric bass is an equally prominent instrument rather than some faint background rhythm thing - jazz fusion is the thing that comes to mind for me.
I just listened to The Kinks’ “Come Dancing” and couldn’t decide which part I liked best, maybe the way that the theme at 0:09 https://youtu.be/xRUE0aAI5o8?t=9 develops and repeats.
And Justin Hayward of the Moody Blues is in great voice in “Vintage Wine”, especially here: https://youtu.be/CCyr00vwDJg?t=159
I’ve never been a big fan of Glen Campbell or his song Wichita Lineman, but there are two lines in that song that I could listen to over and over again.
And I need you more than want you.
And I want you for all time.
Linda Ronstadt’s version of “Blue Bayou” has a muted trumpet section in the second half of the first verse that is très cool. You can barely hear them.
For Christmas - “Fall on your knees” in O Holy Night.
We can fix that right now:
The opening riff of “Uncle John’s Band” was running through my head earlier, and I thought of this thread. I was surprised that I hadn’t posted it with my other Grateful Dead contribution, above, post 177.
Link here: https://youtu.be/D2zItg1sBJg?t=8
At 4:05, bassist Walter Becker plays the sweetest little run. Headphones, or you won’t hear it.
Liked the tune’s opening nod to Horace Silver’s “Song For My Father”
While not the hugest of Fleetwood Mac fans, liked two bits in “Go Your Own Way”, with Lindsay Buckingham’s guitar wailing “exclamation point” @ 2:18 (almost drowned in the mix)…
…and then some dead notes to cap off his solo @ 3:22.
Interesting how some of his playing would “accent” Nicks’ vocals, my favourite example, here, @ 0:39
NSFW:
Killdozer’s opening to “Hamburger Martyr”. Aim your speakers out your window and play. Loudly.
In the Beatles’ “Lady Madonna”, I like how the guitar comes in a bit early as they end the second and third “See how they run”'s.
The guitar bit during the chorus and at the end of the Chad Mitchell Trio version of “The Marvelous Toy”.
Same song, but for me it’s the very very end when Randy Meissner hits the super high notes on his screams. When it’s on the radio and the DJ cuts it off before the screams I get really pissed!
And I meant to reply to the original poster who mentioned “Take It to the Limit”
Yep, and the guitar and drum solos are awesome too!
The instrumental bridges and many changes in key make “Heaven Is a Place on Earth” sublime. Of course, just watching Belinda Carlisle perform makes me tingle!
In “Heart of the Sunrise” by Yes, there’s a simple five-second chord progression that is expanded into 40 seconds.
In Frank Zappa’s “Florentine Pogen”, there’s another brief set of arpeggios over a simple chord progression that spices it up. It recurrs at 2:19
Of all the cool drummy things Phil did with the earlier third of Genesis’s life, this five-second “connector” beat - laden with flams and open hi hats - is just the darned swellest thing. Commences at 1:27.
While othewrwise sorta a pile of “doo, doo, doo-doo”, (and not really about satellites tripping out in space AIUI), the ending of Stephen er I mean Joseph er I mean Steve Miller’s “Fly Like an Eagle” has a trippy rushing wind thing going, along with beeps, at even intervals.
For a third time - trippy.
That glorious D chord in the bridge of Champagne Supernova.
The chord doesn’t dramatically stand out in the recording due to the mix/compression. But in playing along with the song on guitar, when I hit the D chord there I get the hairs-standing-up effect when strumming it. In some ways I think that chord has no business being there, except for the fact it works awesomely supporting the vocals in going to the thunderous E chord. So apparently that means I’m not much of a composer. 
Queued to the middle of the 1st bridge. The D is at 2:44.
From John McLaughlin’s Inner Worlds LP, (“The Way of the Pilgrim”) at 25:56, JM repeats a single note that gets gradually louder.