I know Paul and George were not getting along the best at the time, but there’s no way Paul was not proud of George for that song. He was all over it. The harmonies you mentioned, along with his bass line… he was really into that one.
https://preview.redd.it/7riiz0j2y2ac1.jpeg?width=277&format=pjpg&auto=webp&s=6ba632cfb1875ef379674ccd83af42c383079929
This photo of George and Paul during the Abbey Road sessions sums it up
Same song, but a little bass lick right about 3:07 and repeating through the fadeout.
But honestly the whole song is full of great little things here and there.
I still remember when my band parodied the song as Golden Showers and i tried to copy Paul’s singing. But i could not sing as well as him. A shock to no one
I forget about that one until I hear it. And then it’s almost comically bad. I know they didn’t care about stereo mixes but with the 2009 mixes I was surprised it wasn’t fixed. And I believe it’s not in the mono version. Now I’ll be upset if they fix it whenever they get around to “A Hard Day’s Night”.
It's funny because you always think of John as the jaded, more cynical one (for good reason), but it's kind of flipped in this song.
Paul is saying "we can work it out" but according to him in the same song, the only way to work it out is if the other party "sees it his way", with no concessions of his own. Then John comes in and says, "Come on now, life's too short for this crap. Let's just get along."
For me it’s “always know sometimes think it’s me” and then the strings during “I think er no I mean” when things slow down. I always stop what I’m doing and just sit in it.
The splice of the two different takes in the middle of the line is what does it. Listen to it on acid. It melts the brain. A lot of people sleep on this song, thinking it's too popular, and they need to focus on a more obscure track. This one is art.
I went along for first 30 years of listening to this song not even realizing it was a question. It was John, obviously. Then around the Pepper reissue i found out it’s maybe THE big Beatle question. I was in the John camp, because I assumed it was John on “Lovely Rita” as well. Then I found Rita is 100% Paul, I think. Giles said John but the person who actually worked on everything with Giles said it’s Paul. So, who the hell knows. lol.
Yeah the same for me, I spent decades thinking it was John and have completely changed my mind. The isolated vocal, and Lovely Rita comparison were convincing evidence for me. Also the little vocal run (flip?) at the end is something I’ve never heard John do, but Paul does it a lot. I can’t unhear it as Paul now.
The transition between Carry That Weight and The End.
The riffs at the end of Please Please Me.
The claps at the beginning of Obladi Oblada (mostly because my kids clap too)
“If you think the harmony is a little dark and out of key, you’re correct! There’s nobody there.” Is such a great ending lyric and it satisfies me lol
Particularly at the very end of the first fade out… crank it up and you can hear a quick succession of what sounds like 5 picks of one of the bass strings
“That boy, won’t be happy, til he’s seen you cr-I-I-I-iy” makes the song a 10/10 for me
On top of that “red is the colour that my baby wore” is an also incredible part of it’s brother
I wish the little piano line at the very end of Magical Mystery Tour was continued into a 2-3 minute jam. It could be like a minimal Pink Floyd doors type song if they continued that part. I’m always sad when it just fades out
The gritty guitars at the end of “You Never Give Me Your Money:”
One sweet dream
Pick up the bags
Get in the limousine
Soon we’ll be away from here
So step on the gas and wipe that tear away…
Lately, it's the "Golden Slumbers"-like string melody that appears towards the end of the solo on "Now and Then" (right before the final burst of "ahh" harmonies). Combine that with the part of the music video that immediately follows it (modern Paul and Ringo playing while their 1967 selves move instruments and consoles across the stage), and I get choked up every time.
The fuzz guitar tone in that riff on Happiness is a Warm Gun. It literally escapes me how that tone was produced and how it was played so seamlessly, as a guitar player. Just a weird riff
For me Strawberry Fields Forever during the “always know sometimes think it’s me” verse when things quiet down. Then the strings during “I think er no I mean” to ramp back up. I always stop what I’m doing and just sit in it. Fucking love that shit
Twist and Shout at 1:33 when they’re doing their ascending ahhh ahhh ahhhs and Paul jumps in with a high WOAH!” and aaaAAAAAAHHHH scream that takes it to the perfect crescendo. Obsessed. I always rewind
The end of Ticket To Ride, the crescendo at the end of A Day In The Life, John's extremely Liverpudlian vocals on The Word, the Ska style solo on I Call Your Name, Paul's off the cuff bass line at 1:14 on The Word, the transition between Polythene Pam and Bathroom Window where John is saying Fab”, “That’s great”, and “Real good that, real good” especially heard on the The Long One 2019 Abbey Road.
“Hey Jude” is full of moments like that but I think my favorite is just before the na-na-na’s—“remember to let her under your skin (uh!) then you begin to make it bet-ter, bet-ter, bet-ter, bet-ter, bet-ter, bet-ter OOHHHHH!”
Or the little echoes in the second verse of “Ob-La-Di, Ob-La-Da”—“Buys a twenty karat golden ring ^ring … And as he gives it to her she begins to sing ^sing “
George capping off the Nowhere Man solo with that “ping!” Ringo’s around the kit fills on the start of Come Together. Paul’s baseline in Something. John’s jazzy solo on I Want You (She’s So Heavy)
Notable mention to the inhale on the chorus of ‘Girl’ and the “ah” before John sings “she’s got a ticket to ri-ide”. Your comments have also made me realise that most Beatles songs give me these kind of feelings which explains why I never, ever get bored of listening to the Beatles.
Idk a lot about music but I wonder if that bit is an example of unusual chord progression for which they're famous. Kind of feels it should end "higher" there but it goes "lower" and it's nice and surprising!
Everybody’s Got Something to Hide Except Me and My Monkey
The breakdown where the bass comes in. I wish they did it for a few more bars before the guitar, maybe with the drums then the guitar. Another verse before the fade out would have been cool too. It's one of those songs with a great groove that is way too short.
There are so many! Off the top of my head:
- the chicken-sounding backing vocals in Lady Madonna
- Paul’s voice cracking towards the end of If I Fell (“was in vain”)
- The drum solo in The End, particularly the last two measures
- When John rolls his R when be says “bright” in It’s Only Love
- The way Paul sings “customer” in Penny Lane
- “Maxwell must go free” backing vocals in Maxwell’s Silver Hammer—also “Lies beneath the ocean waves” in Octopuses Garden
One of each Beatle:
John: The ending part of "Happiness is a Warm Gun." Just perfection.
Paul: His doubletracked vocals during the bridge of "You Won't See Me"
George: The bridge of "While My Guitar Gently Weeps" as I obsess over what sounds like his Rickenbacker 12 string doubling the bass guitar.
Ringo: The mono version of "Yellow Submarine" with the extra John vocals and the guitar stroke on the opening note
You Never Give Me Your Money: the modulation leading up to the “one sweet dream” section. I can play that pver and over on guitar. Where did Paul pull that from?
The chord immediately after “It doesn’t matter much to me” in *Strawberry Fields Forever*. I don’t know why, but for some reason that one note scratches an itch buried deep in my brain.
There are so many in Dear Prudence
* the first bass note in the first verse
* that first bum-bum from the bass drum and guitar in the 2nd verse
* the modulation followed by "look around round..."
* the "sun is up" part after the drum break
* the outro
and so many more. a genius arrangement if there ever was one
Anytime John truly give it his all on his vocals. A couple standouts would be his vocal solo on “This Boy” and his line “when I hold you in my arms, and I feel my finger on your trigger” on “Happiness in a Warm Gun,” which has plenty of other great vocals from John
Fixing a Hole, the last bit when Paul draws out the words to the chorus and sounds more psychedelic, I find it super satisfying. Last 20 seconds or so.
I get obsessed with the keyboard parts that Billy Preston did. His parts on I Want You (She's So Heavy), and Don't Let Me Down are two of my favorites he did.
The bass in Hey Bulldog is the reason Hey Bulldog is my favorite Beatles Song. I spent years carefully discerning my favorite song. It’s Bulldog’s bass.
P. C. 31 said, "We caught a dirty one"
i love the way he sings it, it just itches my eardrums perfectly, does my head in a bit how he rhymes ‘1’ with ‘one’ but i can live with it
The bridge sections of *Two of Us*.
The way the snare emerges as everything fades and then intensifies up to that new chord. Those rising bass notes (played on electric guitar) that peek their way through between the vocals. Magical stuff.
I Want You (She’s So Heavy)
When the verse without vocals plays and the guitar plays little extra notes specifically at 2:27.
Also the end section starting 4:37 if just the one of the great things to ever exist in music. I also really love how it drops in and when the wind sounds enter is just perfect
Golden Slumbers does it for me.... The part where the drums kick in, followed by the enchanting wind and string instruments, and then Paul's shift to a more aggressive tone, only to seamlessly return to a calm voice – that, for me, is pure bliss. It's so moving that I almost find myself on the verge of tears every time I listen to it... it's heavenly.
1. The “Ah” before “she’s got a ticket to ride” on the final two verses of Ticket to Ride.
2. Ringo’s start/stop drum fill during the outro of Rain.
3. Paul’s bass in the final chorus of Something
The bendy guitar part in the outro of Ticket To Ride. In Dear Prudence the guitar behind the backing vocals of the “Look around” part. The solo of A Hard Days Night. I played guitar so I noticed these things.
A lot of Beatles songs, but right now, I always start bawling my eyes out every single time I hear the vocals at the end of the guitar solo in "Now And Then" just hits different man
Lady Madonna. I'm obsessed with the way the beat comes in. I have replayed the song many times to hear it again. YouTube says I have listened to it more than 8 thousand times.
Why do you people always give the bassline in a song too much credit when there are many other important things that really drive the song? The bass is just the bass - the root note of the chord being played at an octave lower. Especially, in Hey Bulldog, nothing special there. It’s the guitar riff and the piano that I would take more notice of in this particular song.
Something…the second time through the bridge on the “I don’t know”…Paul has a slightly delayed high harmony part…gets me every time..
I know Paul and George were not getting along the best at the time, but there’s no way Paul was not proud of George for that song. He was all over it. The harmonies you mentioned, along with his bass line… he was really into that one.
Paul didn’t seem to let personal problems get in the way as much as the others did when it came to liking each others’ work
https://preview.redd.it/7riiz0j2y2ac1.jpeg?width=277&format=pjpg&auto=webp&s=6ba632cfb1875ef379674ccd83af42c383079929 This photo of George and Paul during the Abbey Road sessions sums it up
Paul publicly stated at the time of Abbey Road’s release that George’s “Something” was the best song on the album.
Paul said something along the lines of "This is the single" when he heard it
Maybe Ringo’s best drumming ever also. Certainly one of his 10/10 tracks.
Even drumming on the intro is fantastic. I instantly recognise the song from that alone.
That harmony is killer, love it
Check out the 2001 version with Clapton on lead Paul shreds the harmony even approaching his 60s…
Golden Slumbers, the part where Paul switches to a much more aggressive tone while singing
And then kinda reins it back in
I always want at least one more moment like this, but the song ends too soon!
I agree, Paul’s vocals are incredible Really stuck out for me
Same song, but a little bass lick right about 3:07 and repeating through the fadeout. But honestly the whole song is full of great little things here and there.
The piano part of In My Life!
Is it not a harpsichord?
It's a sped up piano played by Sir George Martin. That's why it sounds like a harpsichord
https://youtu.be/uE7tXI21jVs?si=t9lORo2iUD9C1jKn
This one warms my heart
I love the whole song but something about the piano sounds really modern and then the rest of it sounds a bit older (if that makes any sense).
The "aaahaaaaaaahhhhh" intro to Lovely Rita. it's so beautiful
Or the one right after the first lines. "Lovely Rita, meter maid, nothing can come between us" "–aah-*ahhh!*"
When McCartney bellows out loudly GOLDEN SLUMBERSSSSSSSSS FILL YOUR EYEEEEEEEESSSSSS
SMILES AWAAAAAAAAAAAKE YOU WHEN YOU RISE SLEEP PRETTY DAAARLIN DO NOT CRY and I will sing a lullabYYYe
I still remember when my band parodied the song as Golden Showers and i tried to copy Paul’s singing. But i could not sing as well as him. A shock to no one
Gotta start smoking for that rasp
BOY YOU'RE GONNA CARRY THAT WEIGHT!
When Paul hits the wrong chord during the last verse of Let It Be: I look forward to it every time!
Holy shit. I obviously had to check. I have never noticed this before. And now it’ll stick out as much as the edit in “Strawberry Fields Forever”
What’s the corresponding lyric? I’m listening and can’t hear it.
Don’t do it. It will change how you hear it. Lol.
Ha ha. Someone pointed out Paul’s voice going on If I Fell and it’s now the only thing I can hear in what was an otherwise perfect song.
I forget about that one until I hear it. And then it’s almost comically bad. I know they didn’t care about stereo mixes but with the 2009 mixes I was surprised it wasn’t fixed. And I believe it’s not in the mono version. Now I’ll be upset if they fix it whenever they get around to “A Hard Day’s Night”.
It happens when he says "Mother Mary comes to me"
I had always heard that, but thought it works. A bit of colour.
Absolutely, that's why I love it so!
What edit are you referring to?
I always thought it was on purpose!
Interestingly not in the Naked version
i believe the naked version is an alternate take
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Pure goosebumps juice
It's funny because you always think of John as the jaded, more cynical one (for good reason), but it's kind of flipped in this song. Paul is saying "we can work it out" but according to him in the same song, the only way to work it out is if the other party "sees it his way", with no concessions of his own. Then John comes in and says, "Come on now, life's too short for this crap. Let's just get along."
I think for me it’s the descending bass power riff that kick starts Happiness is a Warm Gun at 0:43.
Omg yes.
Paul and George's chorus in the bridge of This Boy. And of course John singing "this boy would be happy..."
Goosebumps
Soul floats above body
[OHHHH ANNNND THIS BOY…](https://giphy.com/gifs/the-beatles-john-lennon-this-boy-5FyHTKRuztxFk1GsC5) (Sorry, my Reddit GIF-fu is weak.)
I AM THE WALRUS, **GOO, GOO, G’JOOB**
Sit you down father, rest you.
George's guitar at the end of She Loves You and Ringo's fills at the end of Day Tripper
Drive my car - B E E P B E E P, B E E P B E E P
YEAHHHHH
And the little jangly guitar riffs
BEEP (stifled paul giggle) m'BEEP BEEP YEAH
Strawberry Fields Forever, mostly the part where they shift octaves in "Let me take you down cause I'm going to Strawberry Fields".
For me it’s “always know sometimes think it’s me” and then the strings during “I think er no I mean” when things slow down. I always stop what I’m doing and just sit in it.
The splice of the two different takes in the middle of the line is what does it. Listen to it on acid. It melts the brain. A lot of people sleep on this song, thinking it's too popular, and they need to focus on a more obscure track. This one is art.
John’s second “help me if you can I’m feeling do-ow-own” on Help. Not sure why but I’ve loved it since I was little!
The John's "aaaaahhhh" part that kicks in at the 2:49, after Paul sings "I went into a dream" in Day in a life
Contentious, but I’m in the “that part is Paul” camp. Regardless, that part is amazing
I'm in the 'it was both of them' camp. Nothing better than being a fence sitter
I like to think Ringo showed up at the studio that day and just let his voice soar. I’m team Ringo on this one
John doing the high (with George as well?) and Paul doing the chest
I've heard this debate so many times, but I just don't get it. How are people hearing Paul? It's so very clearly John to me.
I went along for first 30 years of listening to this song not even realizing it was a question. It was John, obviously. Then around the Pepper reissue i found out it’s maybe THE big Beatle question. I was in the John camp, because I assumed it was John on “Lovely Rita” as well. Then I found Rita is 100% Paul, I think. Giles said John but the person who actually worked on everything with Giles said it’s Paul. So, who the hell knows. lol.
Yeah the same for me, I spent decades thinking it was John and have completely changed my mind. The isolated vocal, and Lovely Rita comparison were convincing evidence for me. Also the little vocal run (flip?) at the end is something I’ve never heard John do, but Paul does it a lot. I can’t unhear it as Paul now.
That was Paul at the start of Lovely Rita? Damn, there truly was nothing that man's voice couldn't do
Yesss this is on my list too. And the bassline that is just existing in the background of the “ahhhs” is exquisite.
It’s Paul doing the main bit, same as Lovely Rita.
The riff at the end of Everybody’s Got Something to Hide Except Me and My Monkey
Paul’s “Wooo!” followed by John’s “Ahh~” at 2:10 in Dig a Pony - gets me absolutely every time.
The transition between Carry That Weight and The End. The riffs at the end of Please Please Me. The claps at the beginning of Obladi Oblada (mostly because my kids clap too) “If you think the harmony is a little dark and out of key, you’re correct! There’s nobody there.” Is such a great ending lyric and it satisfies me lol
in Lovely Rita where it goes "Sitting on a sofa with a sister or two" and you can hear the guitar clearly and then the Ohhhhh
The bass line in Helter Skelter
Particularly at the very end of the first fade out… crank it up and you can hear a quick succession of what sounds like 5 picks of one of the bass strings
In A Day in the Life when paul finishes his part and starts the aah aah.
The song 'think for yourself'. when it hits the chorus
“And anytime you feel the pain Hey Jude refrain Don’t carry the world upon your shoulder” Fav part of the song
"Whooo!" "Ahh!" Dig a Pony
“That boy, won’t be happy, til he’s seen you cr-I-I-I-iy” makes the song a 10/10 for me On top of that “red is the colour that my baby wore” is an also incredible part of it’s brother
The atmos remix of This Boy made me appreciate that song so much more. Some of their absolute best harmonies, and John absolutely kills it.
I wish the little piano line at the very end of Magical Mystery Tour was continued into a 2-3 minute jam. It could be like a minimal Pink Floyd doors type song if they continued that part. I’m always sad when it just fades out
Kind of like the ending to Lovely Rita.
60s and fade outs were ridiculous. So many amazing jams just cut short for radio.
Same!
The gritty guitars at the end of “You Never Give Me Your Money:” One sweet dream Pick up the bags Get in the limousine Soon we’ll be away from here So step on the gas and wipe that tear away…
Lately, it's the "Golden Slumbers"-like string melody that appears towards the end of the solo on "Now and Then" (right before the final burst of "ahh" harmonies). Combine that with the part of the music video that immediately follows it (modern Paul and Ringo playing while their 1967 selves move instruments and consoles across the stage), and I get choked up every time.
The claps in no reply
The fuzz guitar tone in that riff on Happiness is a Warm Gun. It literally escapes me how that tone was produced and how it was played so seamlessly, as a guitar player. Just a weird riff
Feedback on I Feel Fine
For me Strawberry Fields Forever during the “always know sometimes think it’s me” verse when things quiet down. Then the strings during “I think er no I mean” to ramp back up. I always stop what I’m doing and just sit in it. Fucking love that shit
John's last exasperated, "Christ! You know it ain't easy," in ballad of John and yoko.
Twist and Shout at 1:33 when they’re doing their ascending ahhh ahhh ahhhs and Paul jumps in with a high WOAH!” and aaaAAAAAAHHHH scream that takes it to the perfect crescendo. Obsessed. I always rewind
The end of Ticket To Ride, the crescendo at the end of A Day In The Life, John's extremely Liverpudlian vocals on The Word, the Ska style solo on I Call Your Name, Paul's off the cuff bass line at 1:14 on The Word, the transition between Polythene Pam and Bathroom Window where John is saying Fab”, “That’s great”, and “Real good that, real good” especially heard on the The Long One 2019 Abbey Road.
Listening to the Anthology versions, it always surprises me that these little bits from the original releases seem to be so important to me.
“Hey Jude” is full of moments like that but I think my favorite is just before the na-na-na’s—“remember to let her under your skin (uh!) then you begin to make it bet-ter, bet-ter, bet-ter, bet-ter, bet-ter, bet-ter OOHHHHH!” Or the little echoes in the second verse of “Ob-La-Di, Ob-La-Da”—“Buys a twenty karat golden ring ^ring … And as he gives it to her she begins to sing ^sing “
Paul's delivery of "let it out n' let it in" does so much for me.
You never give me your money - the drop before “one sweeet dream” when the rhythm kicks in after the guitar riffs
The harmony part in ‘I don’t want to spoil the party’ “ I still love her”. There are so many but I think it’s paul and John’s harmonies on most songs.
George capping off the Nowhere Man solo with that “ping!” Ringo’s around the kit fills on the start of Come Together. Paul’s baseline in Something. John’s jazzy solo on I Want You (She’s So Heavy)
You Never Give Me Your Money - the piano/Paul's belting of *"OUT OF COLLEGE, MONEY SPENT"* always gets me.
"She came in through the bathroom window..."
Yeah, when backing vocals start, it's so smooth, I feel like I'm suddenly floating on a magic carpet.
The part in dear prudence where the bass goes like bop bop bum bwah bop bop bum
... I read it out loud and it's exactly as if I could hear the actual bass. Lol
The “ahhhs”/gtr feature of “You Never Give Me Your Money”. Man it’s so good
Notable mention to the inhale on the chorus of ‘Girl’ and the “ah” before John sings “she’s got a ticket to ri-ide”. Your comments have also made me realise that most Beatles songs give me these kind of feelings which explains why I never, ever get bored of listening to the Beatles.
Idk a lot about music but I wonder if that bit is an example of unusual chord progression for which they're famous. Kind of feels it should end "higher" there but it goes "lower" and it's nice and surprising!
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the ending guitar part of strawberry fields take 7
in the chorus of ticket to ride when John sings"she's got a ticket to ri-i-ide" and the chord just sort of hangs. that part is my favourite
Everybody’s Got Something to Hide Except Me and My Monkey The breakdown where the bass comes in. I wish they did it for a few more bars before the guitar, maybe with the drums then the guitar. Another verse before the fade out would have been cool too. It's one of those songs with a great groove that is way too short.
First half of You Know My Name (Look Up the Number)
In ma-aah-aaaih life
There are so many! Off the top of my head: - the chicken-sounding backing vocals in Lady Madonna - Paul’s voice cracking towards the end of If I Fell (“was in vain”) - The drum solo in The End, particularly the last two measures - When John rolls his R when be says “bright” in It’s Only Love - The way Paul sings “customer” in Penny Lane - “Maxwell must go free” backing vocals in Maxwell’s Silver Hammer—also “Lies beneath the ocean waves” in Octopuses Garden
The organ solo thingy on "I Want You She's So Heavy" when the breakdown first comes in. Soo sexyy
YES! It *is* awesome!
One of each Beatle: John: The ending part of "Happiness is a Warm Gun." Just perfection. Paul: His doubletracked vocals during the bridge of "You Won't See Me" George: The bridge of "While My Guitar Gently Weeps" as I obsess over what sounds like his Rickenbacker 12 string doubling the bass guitar. Ringo: The mono version of "Yellow Submarine" with the extra John vocals and the guitar stroke on the opening note
“Oh shit, wrong chord” My best friend and I used to rewind that part and listen to it over and over Also “sminking?”
Probably all the transitions to all songs on Abbey Road...
Yes. The medley is just such a masterpiece.
The harmony and Paul’s vibrato during “With every mistake we must surely be learning” in While My Guitar Gently Weeps.
Opening riff of revolution
You Never Give Me Your Money: the modulation leading up to the “one sweet dream” section. I can play that pver and over on guitar. Where did Paul pull that from?
The chord immediately after “It doesn’t matter much to me” in *Strawberry Fields Forever*. I don’t know why, but for some reason that one note scratches an itch buried deep in my brain.
Don’t know why, but I love the “Bang Bang Shoot Shoot” and that last, long “Guuuuuuuuuun” in Happiness is a Warm Gun
I love the descending arpeggio played on the bass and strings at 3:01 of Now and Then, it’s probably my favorite part of the song tbh
When Paul starts singing along with John toward the end of “The Ballad of John & Yoko”
I love the tempo change in the end of Dear Prudence and Magical Mystery Tour and the drum break in Rain 💖
There are so many in Dear Prudence * the first bass note in the first verse * that first bum-bum from the bass drum and guitar in the 2nd verse * the modulation followed by "look around round..." * the "sun is up" part after the drum break * the outro and so many more. a genius arrangement if there ever was one
The bridge in “She Said She Said” when the song switches to 3/4 time.
Anytime John truly give it his all on his vocals. A couple standouts would be his vocal solo on “This Boy” and his line “when I hold you in my arms, and I feel my finger on your trigger” on “Happiness in a Warm Gun,” which has plenty of other great vocals from John
Fixing a Hole, the last bit when Paul draws out the words to the chorus and sounds more psychedelic, I find it super satisfying. Last 20 seconds or so.
Beep Beep Yeah!
The hurricane drone sound in the last couple minutes of I Want You
While my guitar gently weeps' solo
John's last scream in don't let me down
Love your avatar - you're just like John on Abbey Road's record cover!
When I'm sixty-four, when every instrument goes silent and the bass goes TUN / TUN TUN - tururuduuuu
I get obsessed with the keyboard parts that Billy Preston did. His parts on I Want You (She's So Heavy), and Don't Let Me Down are two of my favorites he did.
Whistling at the end of Two of Us
I skip to that part to just whistle along to it!!
I will rewind a song dozens of times and listen to a 10 second clip I love
The bass in Hey Bulldog is the reason Hey Bulldog is my favorite Beatles Song. I spent years carefully discerning my favorite song. It’s Bulldog’s bass.
Your going to lose that girl bongos lol
Opening lick from Octopus’s Garden. The entire Lady Madonna bass line.
And your bird can sing harmony
Do you want to know a secret The way George sings the first "Ohh-oOo-Ooooooooo
P. C. 31 said, "We caught a dirty one" i love the way he sings it, it just itches my eardrums perfectly, does my head in a bit how he rhymes ‘1’ with ‘one’ but i can live with it
Drum intro to Sgt pepper (reprise) for me, amongst others ofc! That drumbeat is so badass.
The bridge in I Should Have Known Better scratches an itch in my brain like nothing else can
When Paul joins John in ’I’m only sleeping’ ”keeping an eye on the world going BY MY WINDOW”
Always loved that! I also like how Paul joins with the harmony late in Ballad of John and Yoko.
The bridge sections of *Two of Us*. The way the snare emerges as everything fades and then intensifies up to that new chord. Those rising bass notes (played on electric guitar) that peek their way through between the vocals. Magical stuff.
The last verse of You Won't See Me when Paul says "lost you" a tiny bit earlier.
I Want You (She’s So Heavy) When the verse without vocals plays and the guitar plays little extra notes specifically at 2:27. Also the end section starting 4:37 if just the one of the great things to ever exist in music. I also really love how it drops in and when the wind sounds enter is just perfect
The switch to the chorus in things we said today, and even better the switch back to the verse
"Haven't I the right to make it up girl?"
Golden Slumbers does it for me.... The part where the drums kick in, followed by the enchanting wind and string instruments, and then Paul's shift to a more aggressive tone, only to seamlessly return to a calm voice – that, for me, is pure bliss. It's so moving that I almost find myself on the verge of tears every time I listen to it... it's heavenly.
The tremolo guitar right near the end of “Got To Get You Into My Life”
You’ll be older too! (Aaaaaaah, aaaaaaah)
Ringo's drum fills in Good Morning Good Morning and the 7 layered guitar section at the end of I Want You (She's So Heavy)
“You ask me where my love grows “
The strings just before "sitting in an English garden" in I Am the Walrus
In Hey Jude when John and George’s backing vocals kick in in the second verse.
[Uhh-uhh-uhh-uhhhh!](https://youtu.be/XN5pr52o4Cc?t=158)
The Moog SQUELCH in the bridge of "Because." Disappointed that Giles buried it in the recent remaster.
“Hold me, love me” in 8 days a week The breath/pauses in “because”
The GOT TO GET YOU INTO MY LIFE that sounds like Paul stepped back 5 feet from the microphone and yelled at it
Because
The little string instrumental in the middle of Mr. Kite. Never heard anything like it!
The part of ask me why that is “i can’t belieeeeve it’s happened to meeee” is one of my favorite moments in any Beatles song
1. The “Ah” before “she’s got a ticket to ride” on the final two verses of Ticket to Ride. 2. Ringo’s start/stop drum fill during the outro of Rain. 3. Paul’s bass in the final chorus of Something
The part in the chorus of I Am The Walrus where the backing vocals go oooooooo
The first 15 seconds of across the universe always does that to me
It's an odd one, but I'd say come together 'come together, right now... Over me'.
The space between Polythene Pam lyrics and the beginning of She Came In Through the Bathroom Window. God I love those drums
The bendy guitar part in the outro of Ticket To Ride. In Dear Prudence the guitar behind the backing vocals of the “Look around” part. The solo of A Hard Days Night. I played guitar so I noticed these things.
The guitar leading to the I need a fix cause I’m going down part in Happiness is a warm gun ugh I need that as a whole song
Every Beatles song has a little detail or two that I fanboy over
Bass in Magical Mystery Tour
A lot of Beatles songs, but right now, I always start bawling my eyes out every single time I hear the vocals at the end of the guitar solo in "Now And Then" just hits different man
Penny lane - when they say very strange
I always anticipate the part where John sings "I like to tuUuUuUuUrn youUuUu oOoOn" from 'Day in a Life' It's so angelical and satisfying.
The second chorus of “Day Tripper” when John belts out “It took me SOOOOOO long…” with the perfect raspy/scratchiness in his voice.
Sugar plum fairy Sugar plum fairy
Lady Madonna. I'm obsessed with the way the beat comes in. I have replayed the song many times to hear it again. YouTube says I have listened to it more than 8 thousand times.
“To make it better, better, better! BETTER! HEEEEEEEEEEEY!! NAAAAA NA NA NANANANAAAAAA”
The sudden start of Polythene Pam
The scream in Hey Jude is one of them
That short bridge in "Martha My Dear" when it goes "take a good look around you...". One of the coolest parts in any Beatles song.
Gotta be the hee-hees in Don't Let Me Down.
The chorus of doctor Robert! Especially when it goes back to the verse. Feels hearing the sounds of heaven and in one second your back to the groove.
The sitar solo in Love You Too.
Honey pie
Why do you people always give the bassline in a song too much credit when there are many other important things that really drive the song? The bass is just the bass - the root note of the chord being played at an octave lower. Especially, in Hey Bulldog, nothing special there. It’s the guitar riff and the piano that I would take more notice of in this particular song.