Gone to pieces, bits and pieces

This started with retroCRUSH's 50 Coolest Song Parts survey, which is based on the perfectly reasonable notion that "sometimes there are pieces of songs that are cooler than the song itself." With a nod to Michele, who's already worked up a list, here are some of my favorite fragments. The criterion for inclusion is simple: does it make the hair on the back of my neck stand up, even now, however many years later? These do.

• The very last line of "Rag Doll," the 4 Seasons (Philips, 1964), in which Frankie Valli proclaims, "I love you just the way you are."

• Hal Blaine's drum break, leading into the outro to the Ronettes' "Be My Baby" (Philles, 1963).

• Roger Daltrey's scream right before "Meet the new boss / Same as the old boss" in the Who's "Won't Get Fooled Again" (Decca, 1971).

• "It doesn't matter what you wear / Just as long as you are there" in "Dancing in the Street", Martha and the Vandellas (Gordy, 1964).

• The second instrumental break (the one without the sound effects) and the outro of the Lovin' Spoonful's "Summer in the City" (Kama Sutra, 1966).

• Jimi Hendrix' extended break in the middle of "All Along the Watchtower" (Reprise, 1970).

• Diana Ross' cries of "I'll always love you" in the outro of the Supremes' "Love Child" (Motown, 1968).

• The interplay of drum and piano after Badfinger sing the title of "Day After Day" (Apple, 1971).

• The a cappella section midway through the Beach Boys' "Sloop John B" (Capitol, 1966).

• Silence, followed by a fierce drum pounding, and then "Came the dawn", twice in "I Had Too Much to Dream (Last Night)" by the Electric Prunes (Reprise, 1966).

• "One, two, three, FOUR!" The Beatles, "I Saw Her Standing There" (Capitol, 1964).

• The ersatz Wall of Sound surrounding T. Rex's "Metal Guru" (Reprise, 1972).

• The stop-time beat right before the invocation of the title, all through Lesley Gore's "That's the Way Boys Are" (Mercury, 1965).

• "At the bottom of this mine lies a big, big man: Big John." Jimmy Dean, "Big Bad John" (Columbia, 1961).

• The six-note riff that opens J. J. Jackson's "But It's Alright" (Calla, 1966).

• "You're so vain / You probably think this song is about you." Carly Simon, "You're So Vain" (Elektra, 1972).

• The plodding, almost sorrowful opening to Jimmy Ruffin's "What Becomes of the Brokenhearted" (Soul, 1966).

• The spooky opening to "With You There to Help Me," the lead track from Jethro Tull's Benefit (Reprise, 1970).

• The fade of the Walker Brothers' "The Sun Ain't Gonna Shine (Anymore)" (Smash, 1966).

• Arthur Alexander's rueful "Every girl I've ever had / Breaks my heart and leaves me sad / What am I, what am I supposed to do?" in "Anna" (Dot, 1962).

• Whatever the hell that is in the middle of the Trashmen's "Surfin' Bird" (Garrett, 1963).
  

Feel free to contribute your own bits.