In the Slim Harpo version of I’m a King Bee when he says “Well…buzz a while” at around 1 minute.
I air drum the drum fill at the end of the Pixies “Here Comes Your Man” no matter where I am.
The pause after “waited on the thunder” before “woke last night to the sound of thunder” on Night Moves.
the very end of Neil’s “The Needle and the Damage Done” where the last strum of the guitar just kinda of hangs there, like you expect another down strum (as a very basic guitar player I know the last 2 strums are up)
I could think of many more if I tried.
Oh! Reminds me of Willie’s “Red Headed Stranger” and the harmony on “We’ll stroll hand in hand again.” It’s the only harmony in the whole song.
Perfect endings: that bird at the end of Layla, and Janis’s evil laugh at the end of Mercedes Benz.
I love this thread.
The OP gives you a big “thank you.”
Tom Paxton’s Born on the Fourth of July (about paralyzed Vietnam war veteran Roy Kovic) has this marvelous verse:
In my wheelchair for life
My mechanical wife
I’m supposed to be cheerful and stoic.
I’m your old tried-and-true
Yankee Doodle to you.
Clean cut (dramatic pause) paralyzed and heroic.
Some versions of Fat Bottomed Girls have a quick, “clap clap” during a brief pause. I can’t find it on Youtube, but here is the Glee version
Two things that I love singing along to whenever the song comes up:
Those “Rha da dant da’s” in The Proclaimers’ “I’m Gonna Be” (aka “I would walk 500 miles”).
“Little old lady got mutilated late last night” from Zevron’s “Werewolves of London”–not the sentiment, but all those Ls.
Some bits off the the top of my head include the following Beatles bits:
Interplay between groovy baseline and lead guitar lick in this “Deer Prudence” bit.
Galloping bass in “Old Brown Shoe”. (heh - or is that guitar?)
Jon Anderson’s little “woo-do-ooo-ya” (or whatever) at exactly 3:10.
Two bits here from The Folksmen:
Guest’s baaah-ing sheep-like “Welllllllllllll” and Shearer’s “E…A…O’s”
For a super tiny bit - John’s “ooo” segue (from refrain to verse) at exactly 1:52
The Skids (eventually became Big Country, I think) - total night and day tempo (everything!) change at exactly 0:52
The wonderful Seth Putnam going “No way!” (followed by sublime guitar licks that pan between left and right channels) at exactly 46:51
The Eagles’ acapella close harmon on Seven Bridges Road.
Figured I’d maybe read the thread, this time:
Yes, always a great segue.
In that song, I like Lindsay’s scorching guitar noodling (3:22) at the end of his solo.
Speaking of claps, I like the ones in in “O-bla-di, O-bla-da” at the five second mark, and how they double up with the snare at the beginning of Cinnamon Girl.
Heh, the mutated “Louie Louie” riff.
Ah yes, the hi-hat/snare interplay, there, makes it one of my all time favourite drum fills. Snazzy as fuck.
Same feeling. Hated “Top Gun”, but always thought that “Sync II” would’ve enhanced some of the flight scenes. (As well as Genesis’s “Duke’s End”.)
Just a couple more of what I’m sure there’s tons:
The cough in VU’s “Who Loves the Sun” at 1:05. I guess they tried to edit it out for the remastering:(, but you can still just barely hear it, with headphones. (btw - headphones are an imperative for the guitar-panning splendour in the AxCx number, in my previous post, #156).
The sneaky, slightly farty bass(?) (or farfisa?) riffs all throughout Zep’s “Custard Pie”, most notable here at exactly 0:30.
I looooove the flowing guitar riff at 0:19 in Steely Dan’s “King of the World”.
Don’t know why this tune gives me goose bumps - maybe it’s the way The Turtles sing the chorus in a major key at 1:41 and then shift the chorus into a minor, more “heartwrenching” key at 1:58. (heh - or maybe it’s the louche swagger to the drumming that’s doin it for me.)
Steve Gadd’s fills in the “Aja” title track. Actually - frick it - the rest of his drumming outro-ing the song, especially that totally hoppin, salsa-inflected beat carried mainly on the cup of the ride: scrumptious.
John Wetton goin “WOO!” at 8:29 in “Fracture”.
Jimi’s wavering guitar at beginning of “Foxey Lady” (here, in this pretty cool Miami video.)
Billy’s ack-kack-kack-kack’s.
The epic, suspense-building opening minute or so of IMO Queen’s RAWKINGEST number, “You Are Here”.
More farty goodness - the farfisa organ at the beginning of IMO Stevie Wonder’s catchiest number, “Boogie On Reggae Woman”.
The seven note ascending guitar lick by Waddy Wachtel at the end of Warren Zevon’s When Johnny Strikes Up the Band.
In The Head and the Heart’s “City of Angels,” the part where the background singers join in with “everywhere I go” right at the 3-minute mark.
"Robbing people with a …(blam) (blam) six (blam) blam) gun (blam) (blam) "
“I fought the law” by The Clash
Also, “uuuurgghhhhh” in Faith no Mores’s version of “Easy” (see 1:53 in the video)
Also, the comet exploding in “the whole of the moon” by The Waterboys (see 3:50)
I was so impressed with the crashing sounds in Rumor Has it (CRASH) that I made a point of finding out who sang it. Adele.
Weird Al’s “eBay”. Even over 15 years after it came out I still laugh every time I hear him sing “I’m highest bidder!”
Tom Waits’ Jockey Full of Bourbon. About 1:44 there’s that BAP BAP! on the drum that make the whole album worth buying.
The band Space have a great song called “The Ballad of Tom Jones”. It’s a male/female duet about a couple who have grown to hate each other, but everytime they’re about to break up/literally kill each other, a Tom Jones song accidently starts playing and they are in love again.
At 2:41, there’s this exchange:
Female singer: I used to call Satan
Male singer: I called you Cruella de Ville
Female singer: But now you call me your Delilah
Male singer: And now I’m not your Lucifer
Female singer: And I am just a pussycat
There is something about the way the female singer sings that last line, that makes me… um, feel all tingly in my pants region.
Drats! I was hoping to be the first to mention that. :mad: 
Joan Jett & the Blackhearts - “I Hate Myself for Loving You” I love her "Oow"s and grunts.
Kenny Loggins - “If It’s Not What You’re Looking For” Right before the guitar solo he sings a line and then a guitar plays a high pich note which fades out. It kind of sounds like a continuation of Loggin’s voice.
The “doo doo doo doo doo doo” at the very end of Duran Duran’s “Rio.”
(No, I’m not making a Doper inside joke. I’m serious - as soon as I saw the thread title, I recalled my middle school friend and I remarking in this fact. Decades before the SDMB!).
In the studio version for Easy Money by King Crimson, I absolutely love two very quick triplets on the woodblock toward the end as the intensity of the song crescendos.
Robert Fripp is apparently extremely aggressive at getting studio versions of his songs off youtube and other sites. I did manage to find one stuido version video on dailymotion. Unsurprisingly, the best part of the song (mere seconds before the two triplets) is fucked up and jumpy with skips, which is probably why it’s allowed to stay up. (Also the sound quality sounds slightly messed up compared to the version from the CD I own, but I guess that’s the “remastered” part.) If you like the song and that’s the only version you have, you’d almost certainly seek out and purchase a clean version.
Here’s the link to it on Dailymotion: https://www.dailymotion.com/video/x2g8sga
The two triplets I’m talking about get played at 6:15. The whole woodblock section starting at 6:01 is fantastic, and the skips/jump happen around 6:09 to 6:12 and utterly destroy the through-line of one of the great crescendos of prog rock.
The entire song is phenomenal and worth a listen if you haven’t heard it before.