The awesome riffage in 'The Bulbs of Passion' off the first Dinosaur album.

When the song breaks to J's singing in "Forget The Swan", from the same record.

The pedal steel solo from "Father to a sister of a thought" by Pavement.

The harpsichord opening to "Diamond Bollocks", a bonus track for 'Mutations' by Beck.

Around 4:40 on Kayo Dot's 'The Manifold Curiosity', when the cascading and mellow acoustic guitar reaches top speed, with a sound of guitars coming in that holds up a framework for the most heart-wrenching piccolo solo possible. I'd liken listening to that part of the song to seeing the person you adore after being parted for a long period. Later on in that song from the eigth minute to the end (starting at the point when the violins slither in with such effeminate charm) there is another extremely powerful feeling that takes hold of me; all pain and worries cease to exist for as long as the song goes on and I feel at one with God. In love at least.

Then there's '___ On Limpid Form', in which Toby stops singing, the band stop, and start again on a very slow doom tempo using clean chords. Eventually you get several minutes and you reflect back to this part of the song and realise how much has been added - the song is now a nightmare - percussion-heavy, screeching feedback, aural black holes.

The final chorus of 'Cemetry Gates' in which Morrissey becomes pretty passionate.

The first minute of Behold... the Arctopus' 'Sensory Amusia' which uses up more ideas than most bands come up with in their entire being.

The final movement of Part 1: The Adoration of the Earth on the Rite of Spring in which the horns scream.

The ever-stoned World Domination Enterprises' vocalist singing, "Stop stealin' and fiiightin'" on their version of Asbestos Lead Asbestos.

The "I think it's so groovy now, people are finally getting together" jingle on Spanky and Our Gang's 'Reach Out in the Darkness' (it also sounds like they're going "Retard in the darkness" on the chorus which is pretty amusing).

Yasuko of Melt-Banana infamy yelling in sing-song something like, "How many chickens do you get?" on 'Chicken Headed Racoon Dog'.

The Ronettes-swiped drum beat on 'Just Like Honey'.

Steve Ignorant ranting, "At school they give you shit! Chuck you in a pit!" on 'Do They Owe Us a Living' (Crass).

The dialogue introduction to 'Pena' by Captain Beefheat and His Magic Band.

The introduction of 'The Anal Staircase' by COIL.

The background song to 'Worker and Parasite' on The Simpsons.

Oh well, I'm getting less and less enthusiasm to list all this stuff down so I'll leave it there.

The cowboys and indians feel as played by Teenage Jesus And The Jerks of Boss Hog's Some Sara.

Karoli's opening freakout on "Mother Sky"

Kurihara's closing freakout on the 7" version of Ghost's "Guru In The Echo"

the entirety of the first song off of sweep the leg johnny's go down swinging

the part in slowdive blue skied n clear when the vocals fade out after the verses and then a new melody and the chorus emerges from it

the second part of boredoms - super going (you know, the part after the 2 chords for 9 minutes)

the new part at the end of hot snakes - audit in progress (the song)

the part in that captain beefheart song where he goes "SHE STUCK OUT HER TONGUE AND THE FUN BEGUN"

I second the second part of the Boredoms thing.
That is a great one for biking or train riding.

it's my all time favorite song.

norma j is wrong, the one who sings all those "manuscript replica"s is jim, listen closely and you can hear the voice of sparta and if you see videos of atdi playing it live, you can clearly see it's jim singing it.

iggy doesn't sing in rolodex propaganda, iggy does the phone conversation bit in enfilade.
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another favorite moment: whenever any fe-mail song breaks or swells down to maja doing her stuff.

i like the second half improv part of king crimson's "moonchild".

the bass solo in darkbusters song cheap wine and cigarettes

on NO BONES by dinosaur jr, when the guitar around 3/4 of the way through the song goes "dee dee dah dah" and there is an INSANE explosion like a hundred guitars vomited ten pounds of sonic feedback distortion barf appears and repeatedly washed over you......

OH MY GOD

The first chorus in 'The Bottom of Everything' by Bright Eyes.

"While my mother waters plants, my father loads his gun- says death will give us back to god, just like the setting sun is returned to the lonesome ocean".

The first time Chan utters "Leave all your guns at home, help keep your momma safe" in Cat Power's 'Rockets'.

from the bass and drums break to the dual guitar solos and back to the main riff part of mudhoney's in n out of grace.

The entire songs Blow Job and Miserable Life by The Action Swingers.

Way to many to think of off the top of my head.

During Lou Reed's "Coney Island Baby"
1. When he sings the line "But remember that the city is a funny place"
2. The end when he says "Man I swear I'd give the whole thing up for you."

Faith No More

The drumming during the bridge of "Jizzlobber" and then it turns into this serene keyboard music right before going back into the heavy drumming, but I love that whole song.

Elvis Costello- The bridge rock out and into the final verse on "Lipstick Vouge"

the opening chords of 13th floor elevators "you're gonna miss me" and roky's vocal performance, overall.

when that one melody comes in about half way through on squarepusher - welcome to europe

the final two minutes of pavement - stop breathing

every overdriven bass hit on venetian snares - winnipeg is fucking over

the scream at the end of amen - "unclean"

the final "prying open my third eye"

slint, good morning captain, "i miss you"

shellac, the entirety of "didn't we deserve a look at the way you really are?"

the part at the end of mr. bungle - "merry go bye bye"

yes