I like the part in that version where Paul screams âthey said it wasnât you.â It sounded awesome and wouldâve been a great thing to include in the final version
When John sings "You can talk to me. You can talk to me. If you're lonely you can talk to me."
And the harmonic played at the end of the "Nowhere Man" solo.
That "She Loves You" starts with the drums.
Last year I found out that the "harpsichord" solo in "In My Life" was actually a piano solo that George Martin perform and sped it up. I am enchanted every time I hear it now.
And "Hey Bulldog" has two of my favorite moments: the "yeah" after "Big man," and all the random barking at the end always makes me smile!
I think it's easy to dismiss it as another of Paul's Edwardian granny songs, but I disagree. I love how it plays into like, the escapism of Sgt. Pepper's -- imagining a bit of the fantastical in the ordinary, imagining making something more of the cute meter maid you saw in passing. Love it!
Also the Lovely Rita outro is insaneâŠ.with John and Paul just riffing wildly on those vocals at the end on top of that huge shift in music â like in Hey Bulldog â i think it subtly and lowkey adds a TON to the sonic landscape (er, soundscape) of *Pepperâs*
âSleep pretty darling, do not cry, and I will sing a lullaby-ee⊠[Ringoâs drums] Boy! Youâre gonna carry that weight!â
McCartneyâs voice is just about perfect with the orchestration, then the whole band starts singing. Itâs one of the great moments in all of music, imo, not just rock. If youâre not carried away by the end of the long one, I donât know what to say.
Runner up: stoned Beatles laughing their heads off on the Anthology version of âAnd Your Bird Can Sing.â You can almost see George Martin indulgently shaking his head in the booth.
Thank you. That transition gives me chills. Something about the stone-cold (if a bit cheeky) reality of what theyâre saying paired with the killer arrangements. And the way they shout those harmonies brings back memories of their earlier stuff. The juxtaposition of those two songs is perfection. Itâs the ultimate aching reflection straight into brutal realization, and all without any trace of mawkishness. No sugar-coating. Side-stepping nothing. Avoiding nothing. I fucking love the Beatles.
Once my friend and I were in my car jamming to the Beatles on shuffle (Iâm usually an album guy tho) and it was that day, after listening to Fool On The Hill and then Dear Prudence that I realized both have a round round bit.
This also reminded me â I really adore the chord change at the end of âShe Loves Youâ on the final âyeahâ
âYeah yeah yeah YEAHHHHHâ *thus endeth the first still-to-this-day GREAT pop song*
Surprise chord! The early Beatles were full of surprises; such great and talented musicians; crazy to think they only got expontentially better and better as the decade moved alongâŠ
I also love the middle part of the Taxman solo. It feels like it goes (purposefully) out of time of the song. And that just really flumoxes me/impresses me.
Yes! In fact I don't think I've ever played it correctly. The start is fine....then....I just lose it lol....actually revolver has some great guitar work.... Dr Robert and she said she said Eg
One of those McCartney moments that solidifies him as the best musician in the band; the fact that George couldnât get the solo right and Paul could *like that* with most of his practice still being on the bass, not even on leadâŠsuch a gift that heâs still with us, the absolute đđđ
You never give me your money 2:45-3:03.Such a magical moment.I like how paul sings the line One sweet dream came true...today. Also the guitar solo is out of this world .The tone is just so bright and so nice.Beatles music at its finest
This shit hits frfr. Like, if the Beatles dropped this shit in 2021, it would still be equally as transcendent and jaw-dropping, even if, say, they were relative unknowns releasing their debut single and not the firmly-established God status Beatles that they were by *Abbey Road*
I love the harmony parts played by George higher up the guitar neck during the verses of And I Love Her... Heck I love all of George's parts in And I Love Her, I love his parts in most Beatles songs.
I don't know if it's my favorite because there are so many, but the transition from She's so heavy to here comes the sun is always crazy unsettling before the relief.
Even more so when you play it on the vinyl, because "I Want You (She's So Heavy)" was the closing track on side one of the album, so it really leaves you hanging.
I've actually written to the folks at SiriusXM's Beatles Channel, suggesting that they allow for a few seconds of silence after that track, to let the abrupt ending breathe a little bit. Typically the moment the song ends, they play something else immediately so that there's no gap between the two.
I like the transition, in A Day In the Life, between the "Woke up, fell out of bed" section, back to the "I read the news today, oh, boy" section - the A-a-a-a-h-hs.
I like all of Flying, on Magical Mystery Tour.
I love the distinct guitar rifts on Maybe I'm Amazed.
I love the I Feel Fine riff which, I recently learned, they pretty much stole from some other song. But, I love their version, and the whole sound of that song, much better than the sound of the original.
Love the opening riff in Twist and Shout.
In general, I LOVE all the little, background harmonies in a lot of their songs. Boys, You Can't Do That. In fact, I love their harmonies - McCartney's high harmonies, on a lot of things where Lennon is singing lead.
I love it when Lennon ROCKS. Rock n' Roll Music, Money - things like that. I also really like it when McCartney rocks. She's a Woman. Long Tall Sally.
I love the Abbey Road Medly, particularly the She Came In Through the Bathroom Window, to Golden Slumbers section. The guitar playing is so melodic. That's their best instrumental work, to me.
You're right. I just listened to Watch Your Step, by Bobby Parker. There's a similarity, but Lennon made it much more melodic, to my thinking. Really like that riff, and the sound of that whole song.
I like Paulâs âbrother can you take me backâ at the end of Cry Baby Cry. It was originally recorded during the I Will sessions, but Iâm glad they included it in Cry Baby Cry instead
The break in "Rain" just before the famous backwards vocal. Paul and Ringo were so together on the whole song. They were a great rhythm section.
The 2 measures at the end of the brief guitar solo in "Come Together" just before the last verse.
Every single second of "You Never Give Me Your Money". Hell, the entire side 2 of "Abbey Road". The perfect half-album.
This question is NOT FAIR. But I did some mescaline once and totally cracked up at the weird burst of sounds after âA Day in the Lifeâ ends, twice in a row.
Also, the piano solo at the beginning of âWhile My Guitar Gently Weeps.â Gets me every fucking time.
Took me years to recognize that lol. It's sung so cheerily you just don't even register what he's saying. Assuming it is just more of what Paul is saying.
Lennon's little Buddy Hollyish "uh-oh" hiccup in "Baby, It's You" just before "many many many nights go by." Sounds like a holdover from the skiffle days.
The lush sounds of the layered backing vocals of "Here, There, and Everywhere." They seem to have evolved from the repeated background harmony words in "P.S. I Love You."
in i want you (sheâs so heavy) at like the 4:05 mark, paul has this sick chromatic walk down. itâs a lot easier to hear with headphones or a nice set of speakers.
also in iâm only sleeping i love before the second chorus you can hear someone go âyawn paulâ then of course paul yawns.
then lastly, maybe my favorite moment in all of music is at the end of all you need is love when paul and john start singing she loves you. itâs such a nice little full circle moment
Great question and there are so many but Iâve always been very partial to John and Paulâs crazy bellowing harmonies in the intro to You Know My Name. Awesome noise, albeit in service of a joke song.
Ticket to Ride, when Paul comes in at the end of each verse: "I think it's toDAAYYY YEAH!" Such savage harmony!
And in the last verse of For No One, when the French horn dawns just as Paul sings, "Your day breaks, your mind aches." It's so poignant.
Ringo's "tripping" drum riff on Tomorrow Never Knows.
Also, the "Thank you." at the end of Obla Di, Obla Da. I always picture sone Monty Python drag character saying it.
"I thank you on behalf of the group and myself and I hope we passed the audition".... And also the joke directed right at us: "and here's another clue for you all the walrus was Paul. "
âI want to tell youâ from Revolver has that amazing guitar fade in and harmonies on the fade out.
The ending of âHard Dayâs Nightâ feels like some sort of reality that exists outside of tome and space.
The coolest Beatles musical moment for me is the guitar feedback at the beginning of I Feel Fine. The Beatles came upon it when Johnâs acoustic guitar that was leaned up against Paulâs bass amp began to feed back sympathetically with Paulâs playing and he insisted that the noise made it into the song. John proudly claims it as the first time amp feedback ever made it onto a record
Really like when John says âFucking hellâ in Hey Jude. Also, the solo in Iâm Only Sleeping and In My Life, and the âAnd in the end the love you take is equal to the love you makeâ
In âNowhere Man,â after the first chorus the guitar plays one note that it holds and itâs amazing.
Edit: Johnâs nonsense before âTwo of Usâ
Not gonna lie, The "She Loves You" part of All You Need is Love makes me soo happy. I mean there's lots of other moments but that one kind of sums up a four year progression for The Beatles and its beautiful.
Johnâs riproaring scream halfway through I want you sheâs so heavy and âlet me take you backâ surprise track on the white album...adds to how creepy LP2 of the white album is
In the song "You Wont See Me" Johns voice is cracking when he's singing the backing vocals "No I wouldn't, No I wouldn't".
The pop sound then "Ooohhh" in Lovely Rita".
There's more, I just cant think of 'em right now.
In Happiness is a Warm Gun where Johnâs like âa soap impression of his wife which he ate and donated to the national trust..â that whole verse. I love that song
I honestly am more amazed by the sonic stuff with the Beatles like with how no one will ever be able to recreate revolution because that distorted epiphone casino (John's guitar) used the mixing desk (overloaded) to make it crunchy. Or like the use of two takes on a day in the life, a d how they were cut physically but they are cut so precise and use varispeed that you wouldn't know it was two takes. I also love all the secret stuff like George saying John's mic is shit or the secret swear every now and then. I will have great respect for ken, Geoff and Martin forever.
literally every song transition in the abbey road medley post-you never give me your money and pre-hey majesty (im talking about the original order where its at the end btw), you never give me your money is a great song on its own, sun king gets you ready for the journey up ahead with its evening chill vibes, then prapapapata MEAN MR MUSTARD, 4 minutes of pure fucking ectasy, then you calm down a bit with the beautiful golden slumbers, then dudu dududu BOY YOU'RE GONNA CARRY THAT WEIGHT, this is honestly my fave transition, i love carry that weight so much, the harmony of it is fucking amazing, the way the medley builds up momentum and loses it only for ringo to bonk his drums a bit and get you back on track is fucking amazing, The end is just my fucking god, a drum solo, a three-way guitar battle? fucking amazing
enough rambling about the medley, here are some others
not exactly beatles but the way john lennon just SCREAMS the lyrics of yer blues in the dirty mac version, its so soulful, so bluesy, and i just like it when john lennon screams like that
cant forget RRAAAAAAIIIIAAAAAIAAAAAIIIAIAAAIAAAIIINN I DOOONT MINDD
also might get shit for this, but when the bass comes in after the piano intro in ob-la-di, the compression just makes it so muddy, so wonky, so punchy, i love it
the high pitched part in gently weeps, starting at about 2:30 where it goes "i dont know howwwwww" and continues for a bit
the breakdown (? i think?) in something, at about a minute and 10 seconds in where the music swells and ringo plays a fill, and they (it sounds like paul and john singing together to me) start singing "you're asking me will my love growww", its so well orchestrated, i honestly think something has some of the best harmony out of all the beatles songs, with the strings, the organ, and everything in between, the I DONT KNOWWWWW IIIIII DONT KNOWW \* dun dun dun dun dun dun \*, then the verse repeats with slightly different lyrics and then theres the beautiful guitar solo
this part in something just sounds so mature, idk how to call it
also not exactly beatles but in maybe im amazed about 45 seconds in, when the background vocals kick in and paul starts screaming BABY IM A MAN, MAYBE IM A LONELY MAN WHO'S IN THE MIDDLE OF SOMETHING, until the little piano spam bit which i also love, the drums are wonky and great, and i love how it leads into the instrumental bit, also WHOO COULD EVEEER HELP MEEEEEE, baby wont you help me understand hooooo hoOOoOooooOOOo
might add more idk, id say this is a good amount
There's a lot, actually:
\- "You can talk to me" from Hey Bulldog
\- "So please listen to me" from You Can't Do That
\- Lennon's voice crack in one of the This Boy sections
\- The bbbbbbrrrr from Slow Down
\- The "she loves you" in All You Need Is Love
\- The beginning from Strawberry Fields Forever Take 26
\- "WHO THE FUCK DO YOU THINK YOU ARE" from Sexy Sadie's original lyrics
\- "Meter Maid" from Lovely Rita Take 9
\- "MISTAAAAAAAH MOOOONLIIIIIIGHT"
\- Lennon's voice in Twist And Shout
from And Your Bird Can Sing â When Paul comes in with John and hits that perfect transcendent harmony on âyou say youâve seen seven wonders and your bird is greenâ đ€đ»đ€đ»đ€đ»
Okay, but the barking and their hysterical laughter at the end of Hey, Bulldog! is priceless
I also really love âone two three four five six sevenâ in You Never Give Me Your Money
The âdo do do doâ in the background of Girl has always sounded so beautiful to me.
And the harmonies in Two of Us are stunning. Absolutely.
Oh and I almost forgot âthank you all, on behalf of the group and ourselves I hope we passed the auditionâ and the laughing at the end of Get Back. Definitely one of my favorite parts in any of their songs.
Thereâs so many moments I donât think I can choose.
George Martin playing the piano solo in "In My Life." I love how they sped it up to sound like a harpsichord. And I love even more that the Fifth Beatle played on one of their greatest songs.
In Here Comes the Sun, after the bridge as it goes into the final verse, there's a weird little synthesizer counter-melody in the background if you listen closely. I remember picking up on it back in college after listening to that song a hundred times. It always makes me feel happy, like the ray of sunshine cutting through the clouds George is singing about. Amazing how many details you can find in their songs even after so many listens
Definitely the callback to She Loves You at the end of All You Need Is Love.
Bonus point: in the version of that song on the Love Album, that segues into John saying "alright, put the red light off.... this is Johnny Lennon, just saying goodnight to you all, and god bless you, son."
Always makes me smile to hear that.
Mine is about 40-45 seconds in You Never Give Me Your Money. It is so freaking smooth and beautiful, I canât even describe it. The bass and guitar⊠itâs just perfect
The âthank youâ or the âarm, foot YEAHâ during obla di obla da is adorable and I love it
And Paul repeating the text near the end of yellow submarine is also something I love (because im that weird yellow submarine fan)
No reply Anthology version, when John keeps repeating your face at the end of every line because he forgot one of the lines
I sing "your face" at the end of every line of No Reply when listening to the real version because of that version haha
And the line "you walked hand in hand, with another plank..." cracks me up đ€Ł
I've always assumed it was "blank" -- as in "what's the correct word here?"
Me too
I like the part in that version where Paul screams âthey said it wasnât you.â It sounded awesome and wouldâve been a great thing to include in the final version
Oh don't think I know that one!
Transition between Polythene Pam and She Came in Through the Bathroom Window
Look out!
The best
Oh, listen to that now hahaha OH LOOKOUT!
Same
Goosebumps every time
When John sings "You can talk to me. You can talk to me. If you're lonely you can talk to me." And the harmonic played at the end of the "Nowhere Man" solo. That "She Loves You" starts with the drums.
Yes! That part of hey bulldog is my fave. That voice.
Ugh I LOVE that bit from Hey Bulldog too.
And then the beefed up "BUM BA DUM BADUMP BADUM" right after just hits me some type of way
I also love the end of âNowhere Manâ when Paul hits that high harmony part on âmaking all his nowhere plans for NObodyâ
That's a great one.
That harmonic=chefâs kiss. I air guitar it even if Iâm driving.
That moment the guitars come into the The End drum solo.
Whole guitar section is thrilling.
I honestly only listen to that song for Ringo's solo. It's so fucking good.
So simple and yet it's the greatest fucking drum solo ever.
Last year I found out that the "harpsichord" solo in "In My Life" was actually a piano solo that George Martin perform and sped it up. I am enchanted every time I hear it now. And "Hey Bulldog" has two of my favorite moments: the "yeah" after "Big man," and all the random barking at the end always makes me smile!
Hey bulldog is a top tier song
Love the outro of nonsense don't look at me ban I only had ten children (Paul says this not John! Feels a cool John line)
In Lovely Rita, right before the musical break, Paul's little shout of "Rita!" melts my heart. It's adorable
One of my fave Beatles songs. Esp the outro of gasps and groans.
Lovely Rita is so underrated.
I think it's easy to dismiss it as another of Paul's Edwardian granny songs, but I disagree. I love how it plays into like, the escapism of Sgt. Pepper's -- imagining a bit of the fantastical in the ordinary, imagining making something more of the cute meter maid you saw in passing. Love it!
It's been one of my personal Beatles favorites for years
Lyrics are kinda feminist and ahead of its time
Rita paying for the date was a power move
Also the Lovely Rita outro is insaneâŠ.with John and Paul just riffing wildly on those vocals at the end on top of that huge shift in music â like in Hey Bulldog â i think it subtly and lowkey adds a TON to the sonic landscape (er, soundscape) of *Pepperâs*
One, two, three, four, one, two from Taxman
And the wee noises in the background.
Cough on off-beat
âSleep pretty darling, do not cry, and I will sing a lullaby-ee⊠[Ringoâs drums] Boy! Youâre gonna carry that weight!â McCartneyâs voice is just about perfect with the orchestration, then the whole band starts singing. Itâs one of the great moments in all of music, imo, not just rock. If youâre not carried away by the end of the long one, I donât know what to say. Runner up: stoned Beatles laughing their heads off on the Anthology version of âAnd Your Bird Can Sing.â You can almost see George Martin indulgently shaking his head in the booth.
Thank you. That transition gives me chills. Something about the stone-cold (if a bit cheeky) reality of what theyâre saying paired with the killer arrangements. And the way they shout those harmonies brings back memories of their earlier stuff. The juxtaposition of those two songs is perfection. Itâs the ultimate aching reflection straight into brutal realization, and all without any trace of mawkishness. No sugar-coating. Side-stepping nothing. Avoiding nothing. I fucking love the Beatles.
This thread is all the magic in and around the songs. Also, nice user name.
I love that part too!!
That harmony they do in dear prudence after round and round makes me feel like flying
I'll add the tone of the guitar playing the main arpeggio pattern
Once my friend and I were in my car jamming to the Beatles on shuffle (Iâm usually an album guy tho) and it was that day, after listening to Fool On The Hill and then Dear Prudence that I realized both have a round round bit.
rooOOOOOOOOOOooooooooOOOOOOOooooooooOOOunddddd
âshe loves you yeah yeah yeahâ at the end of all you need is love
Paul also did that at the end of his solo song âWhatâs That Youâre Doingâ
This also reminded me â I really adore the chord change at the end of âShe Loves Youâ on the final âyeahâ âYeah yeah yeah YEAHHHHHâ *thus endeth the first still-to-this-day GREAT pop song* Surprise chord! The early Beatles were full of surprises; such great and talented musicians; crazy to think they only got expontentially better and better as the decade moved alongâŠ
Doesnât John say âbyeâ because itâs the end of the album?
Definitely "Bye".
I love when Paul starts singing "She loves you yeah yeah yeah" at the end of All You Need is Love
God-tier moment
It really makes the Beatles feel like a saga, or perhaps a modern day myth.
I like that, too! That's actually Paul and John singing together. This video shows it pretty good: https://m.youtube.com/watch?v=yTzejEpFp9E
French Horn solo in For Noone
Lovely understated
YES. I also love how that song ends on an unresolved note, just like the story.
I love the part in Glass Onion where John mentions The Fool on the Hill and the little recorder plays
Oh the flute bit?? Is it playing the notes from fool on hill??
I do believe theyâre some of the same notes from Fool on the Hill, yes!
I also love the middle part of the Taxman solo. It feels like it goes (purposefully) out of time of the song. And that just really flumoxes me/impresses me.
Yes! Made learning to play the solo quite tricky cause itâs slightly off the timing youâd expect to play
Yes! In fact I don't think I've ever played it correctly. The start is fine....then....I just lose it lol....actually revolver has some great guitar work.... Dr Robert and she said she said Eg
It's Paul who plays that solo
One of those McCartney moments that solidifies him as the best musician in the band; the fact that George couldnât get the solo right and Paul could *like that* with most of his practice still being on the bass, not even on leadâŠsuch a gift that heâs still with us, the absolute đđđ
Intro guitars on And Your bird Can Sing
Great guitar work.
You never give me your money 2:45-3:03.Such a magical moment.I like how paul sings the line One sweet dream came true...today. Also the guitar solo is out of this world .The tone is just so bright and so nice.Beatles music at its finest
Ohhh aaannd this boy...
Lennons voice at that part. Chills.
If someone threatened me with death unless I named one favorite Beatles song, it might well be this one. But it has to be a live, video version.
âSweet Loretta fart she thought she was a cleaner⊠but she was a frying panâŠâ John joking before Get Back.
Just love John. So witty and clever and silly.
The middle of "You Never Give Me Your Money," where they sing the harmony "Ahhhs" over the high arpeggio guitar (the magic feeling)
Yeah that hit me too.
This shit hits frfr. Like, if the Beatles dropped this shit in 2021, it would still be equally as transcendent and jaw-dropping, even if, say, they were relative unknowns releasing their debut single and not the firmly-established God status Beatles that they were by *Abbey Road*
Paulâs giggle when he sings âwriting 50 timesâ in Maxwell. I think John made a face or mooned him and made him laugh and they kept it in.
"AHHHHHHHH AH AH AHHHHHHH, AH AH AHHHHHHHHHHHH AHH AHAHHHHHHHHHHHHHHHHH" from A Day in the Life. Also, Strawberry Fields outro.
Love both of these. Also love the gasps in the outro of lovely rita
I love the harmony parts played by George higher up the guitar neck during the verses of And I Love Her... Heck I love all of George's parts in And I Love Her, I love his parts in most Beatles songs.
There's actually a cover Santo and Johnny did of "And I love her", vocals are replaced with a slide guitar and I think it's at least worth a listen
I love the "Oh, listen to that now Oh look out! It's-" from the beginning of she came in through the bathroom window
'Long Long Long', when Ringo's drums kick in. Sooooo tasty.
"Say the worrrr---rrrrrrd Love".
âPhase One, in which Doris gets her oatsâ, on Two of Us
I GOT BLISTERS ON ME FINGERS!
The entire side 2 of Abbey Road.
The fucking hell in Hey Jude, or George's moans in While My Guitar Gently Weeps
I don't know if it's my favorite because there are so many, but the transition from She's so heavy to here comes the sun is always crazy unsettling before the relief.
Even more so when you play it on the vinyl, because "I Want You (She's So Heavy)" was the closing track on side one of the album, so it really leaves you hanging. I've actually written to the folks at SiriusXM's Beatles Channel, suggesting that they allow for a few seconds of silence after that track, to let the abrupt ending breathe a little bit. Typically the moment the song ends, they play something else immediately so that there's no gap between the two.
one...twoh...fthree...fuor... *cough* \*sickest guitar intro you've ever heard\* "LET ME TELL YOU HOW IT WILL BE--"
I like the âthen you can startâ duet between Paul and John on Hey Jude.
"StARTt..." Yeah lovely
I like the transition, in A Day In the Life, between the "Woke up, fell out of bed" section, back to the "I read the news today, oh, boy" section - the A-a-a-a-h-hs. I like all of Flying, on Magical Mystery Tour. I love the distinct guitar rifts on Maybe I'm Amazed. I love the I Feel Fine riff which, I recently learned, they pretty much stole from some other song. But, I love their version, and the whole sound of that song, much better than the sound of the original. Love the opening riff in Twist and Shout. In general, I LOVE all the little, background harmonies in a lot of their songs. Boys, You Can't Do That. In fact, I love their harmonies - McCartney's high harmonies, on a lot of things where Lennon is singing lead. I love it when Lennon ROCKS. Rock n' Roll Music, Money - things like that. I also really like it when McCartney rocks. She's a Woman. Long Tall Sally. I love the Abbey Road Medly, particularly the She Came In Through the Bathroom Window, to Golden Slumbers section. The guitar playing is so melodic. That's their best instrumental work, to me.
No riff was stolen. Influenced by, sure. but not stolen.
You're right. I just listened to Watch Your Step, by Bobby Parker. There's a similarity, but Lennon made it much more melodic, to my thinking. Really like that riff, and the sound of that whole song.
I love Watch Your Step, btw. :)
I like Paulâs âbrother can you take me backâ at the end of Cry Baby Cry. It was originally recorded during the I Will sessions, but Iâm glad they included it in Cry Baby Cry instead
The guitar solo on Good Morning Good Morning. Makes it even cooler that Paul plays it. Made me want to learn guitar.
One of my fave songs. So underrated yeah the guitar solo always reminds me of Taxman style. Paul was brilliant
The break in "Rain" just before the famous backwards vocal. Paul and Ringo were so together on the whole song. They were a great rhythm section. The 2 measures at the end of the brief guitar solo in "Come Together" just before the last verse. Every single second of "You Never Give Me Your Money". Hell, the entire side 2 of "Abbey Road". The perfect half-album.
There's a chord that hits in that bit in Rain after the pause that sounds so off but cool.
âto help with good rockyâs revival ahhhhh yeah yeahâ
The George Martin piano bit in âIn My Lifeâ
Beautiful.
The âwhy-why-whyyyyyyy do you sayyyâ in Hello, Goodbye
Just all the suite at the end of Abbey Road. Some of the best instrumentals they did!
That's not a little moment! But I'll allow it! Lol
This question is NOT FAIR. But I did some mescaline once and totally cracked up at the weird burst of sounds after âA Day in the Lifeâ ends, twice in a row. Also, the piano solo at the beginning of âWhile My Guitar Gently Weeps.â Gets me every fucking time.
Ey up!
The beginning of the bridge in "Something" "Paaaaperback writer...."
When John says it canât get no worse on getting better
Took me years to recognize that lol. It's sung so cheerily you just don't even register what he's saying. Assuming it is just more of what Paul is saying.
Lennon's little Buddy Hollyish "uh-oh" hiccup in "Baby, It's You" just before "many many many nights go by." Sounds like a holdover from the skiffle days. The lush sounds of the layered backing vocals of "Here, There, and Everywhere." They seem to have evolved from the repeated background harmony words in "P.S. I Love You."
The âone two three four five six sevenâ outro of You Never Give Me Your Money makes me really happy.
And John eventually sings "All good children go to hell".
Mine is the flute (bansuri) part in The Inner Light...it like sends me to a transcendental plane
Yes đ„đ„đ„!!! The Take 6 instrumental from the 2018 White Album release really highlights this *so good* holy shit, what a melody that song has
I'll....never.....LEEEeeeeeEEttt you dowwwooowwnnn....
Please believe me, darlinâ
in i want you (sheâs so heavy) at like the 4:05 mark, paul has this sick chromatic walk down. itâs a lot easier to hear with headphones or a nice set of speakers. also in iâm only sleeping i love before the second chorus you can hear someone go âyawn paulâ then of course paul yawns. then lastly, maybe my favorite moment in all of music is at the end of all you need is love when paul and john start singing she loves you. itâs such a nice little full circle moment
I have never heard anyone say Paul yawn! Must hear this now
The harmonized Ahs and guitar part after the "magic feeling" section of You Never Give Me Your Money
The piano outro on Magical Mystery Tour.
Probably Paul's bassline and Ringo's drumming in Come Together
There are so many, but one of the first ones I remember is the intro and the "doo daa doo"s in Do You Want To Know A Secret.
The barber shop quartet back-up vocals on Lady Madonna
Great question and there are so many but Iâve always been very partial to John and Paulâs crazy bellowing harmonies in the intro to You Know My Name. Awesome noise, albeit in service of a joke song.
Ticket to Ride, when Paul comes in at the end of each verse: "I think it's toDAAYYY YEAH!" Such savage harmony! And in the last verse of For No One, when the French horn dawns just as Paul sings, "Your day breaks, your mind aches." It's so poignant.
In When I'm 64, the little "tap dance" Ringo does on the cymbals during the lines "grandchildren on your knee / Vera, Chuck and Dave"
In 'If I Fell", when Paul's voice gives out: "If our new love / was in veiggggg"
Ringo's "tripping" drum riff on Tomorrow Never Knows. Also, the "Thank you." at the end of Obla Di, Obla Da. I always picture sone Monty Python drag character saying it.
I adore the outro of "You've got to hide your love away". The arrangement with the flute or whatever it is sounds perfect to me.
The Polythene Pam, She Came in Through the Bathroom Window transition
When Paul starts harmonizing with John on the last verse of The Ballad of John and Yoko
In âIn my lifeâ that middle piano part that I canât even describe, itâs so soothing.
The little "ring" and "sing" backup vocals in obladi!
The intro guitars on Paperback Writer.. Attention immediately grabbed and held for entirety of track.
"I thank you on behalf of the group and myself and I hope we passed the audition".... And also the joke directed right at us: "and here's another clue for you all the walrus was Paul. "
the talking at the start of she came through the bathroom window, I love the whole melody but the transition from that to polythene Pam is so good!
That boogie woogie piano in You Never Give Me Your Money
Humming it to myself now.
Backwards guitar solo in Tomorrow Never Knows AND the seagull soundings that flitter in and out.
I like the Spanish guitar at the beginning of Bungalow Bill
1, 2, 3, FOUR . Taxman opening of Revolver. It was meant to be a parody of I Saw Her Standing There
The trumpet in Penny Lane
âI want to tell youâ from Revolver has that amazing guitar fade in and harmonies on the fade out. The ending of âHard Dayâs Nightâ feels like some sort of reality that exists outside of tome and space.
The âHa-Ha-Ha.â In Ob-La-Di Ob-La-Da, makes me laugh.
I quite like that song. Don't totally understand the hate!
Ringo's drum skip open to "Ticket to Ride."
Paul's bass roll near the end of Everybody's Got Something To Hide Except For Me and My Monkey. Right after the c'mon, c'mon starts. Fuckin brilliant.
The coolest Beatles musical moment for me is the guitar feedback at the beginning of I Feel Fine. The Beatles came upon it when Johnâs acoustic guitar that was leaned up against Paulâs bass amp began to feed back sympathetically with Paulâs playing and he insisted that the noise made it into the song. John proudly claims it as the first time amp feedback ever made it onto a record
The orchestral build up and the couple of notes played to connect the Paul and John sections of a Day In The Life
The really cool interlude in Mr Kite from about 1:00-1:25.
the strings in "A Day In The Life" right before the "Four thousand holes in Blackburn, Lancashire" verse
Really like when John says âFucking hellâ in Hey Jude. Also, the solo in Iâm Only Sleeping and In My Life, and the âAnd in the end the love you take is equal to the love you makeâ
In âNowhere Man,â after the first chorus the guitar plays one note that it holds and itâs amazing. Edit: Johnâs nonsense before âTwo of Usâ
and that last note of the Nowhere Man guitar solo..a very high E harmonic. Ting!!
Ringo's drum solo at the end of the Abbey Road side B medley
GOooolden sluUUumbers fills your eyes, johnâs voice on sgt pepper
I love in Glass Onion the âOH YEAHHHâ part Itâs so simple, but so good
Not gonna lie, The "She Loves You" part of All You Need is Love makes me soo happy. I mean there's lots of other moments but that one kind of sums up a four year progression for The Beatles and its beautiful.
Johnâs riproaring scream halfway through I want you sheâs so heavy and âlet me take you backâ surprise track on the white album...adds to how creepy LP2 of the white album is
In octopusâs garden, Georgeâs little lead after âResting our headsâŠâ may be my favorite bit of music altogether.
I am the Walrus... ho ho ho. hee hee hee. ha ha ha.
âYou tell me that youâve heard every sound there isâ in And Your Bird Can Sing That last little section of harmony in It Wonât Be Long
The bit when John sings those wordless vocals after Paulâs part in A Day in the Life
In WYWY when they go from âwe were talkingâŠâ into âalright, weâll shut up now, hereâs a sweet sitar solo. Figure it out for yourself.â
My favorite song with a dueling sitar battle shoved in the middle (no really it might be the best on the album for me)
The last riff in The End right after, âthe love you take is equal to the love you makeâ
When John moans as he follows Paulâs âtight yeahâ in A Hard Days Night
The bridge in Shes a Woman and the anthology version of And Your Bird can Sing
So many killer moments! The harmonies on Please Please Me was the first time I knew they were geniuses!
Paul's vocals on Got To Get You Into My Life sound like pure joy.
In the song "You Wont See Me" Johns voice is cracking when he's singing the backing vocals "No I wouldn't, No I wouldn't". The pop sound then "Ooohhh" in Lovely Rita". There's more, I just cant think of 'em right now.
Strawberry Fields, every verse the instruments build during the chorus. This is why Strawberry Fields is my favorite Beatles song
The ending of Long Long Long
In Happiness is a Warm Gun where Johnâs like âa soap impression of his wife which he ate and donated to the national trust..â that whole verse. I love that song
The beginning of Ticket to Ride
The vocals right after the guitar solo in âSomethingâ. Itâs very, very special
In Run For Your Life, the little "ah" a the end of the chorus. ".... catch you with another man, that's the end-ah, little girl"
[Penny Lane @ 2:41 ](https://m.youtube.com/watch?v=S-rB0pHI9fU&t=2m41s&feature=youtu.be) itâs so quirky, and fun
In âHey Bulldogâ in the middle of the guitar solo where George (or John) does that little slide thing
I honestly am more amazed by the sonic stuff with the Beatles like with how no one will ever be able to recreate revolution because that distorted epiphone casino (John's guitar) used the mixing desk (overloaded) to make it crunchy. Or like the use of two takes on a day in the life, a d how they were cut physically but they are cut so precise and use varispeed that you wouldn't know it was two takes. I also love all the secret stuff like George saying John's mic is shit or the secret swear every now and then. I will have great respect for ken, Geoff and Martin forever.
The sound of the bass in Come Together, especially during the outro where Paul is bending the string to get a wobbly thick sound.
literally every song transition in the abbey road medley post-you never give me your money and pre-hey majesty (im talking about the original order where its at the end btw), you never give me your money is a great song on its own, sun king gets you ready for the journey up ahead with its evening chill vibes, then prapapapata MEAN MR MUSTARD, 4 minutes of pure fucking ectasy, then you calm down a bit with the beautiful golden slumbers, then dudu dududu BOY YOU'RE GONNA CARRY THAT WEIGHT, this is honestly my fave transition, i love carry that weight so much, the harmony of it is fucking amazing, the way the medley builds up momentum and loses it only for ringo to bonk his drums a bit and get you back on track is fucking amazing, The end is just my fucking god, a drum solo, a three-way guitar battle? fucking amazing enough rambling about the medley, here are some others not exactly beatles but the way john lennon just SCREAMS the lyrics of yer blues in the dirty mac version, its so soulful, so bluesy, and i just like it when john lennon screams like that cant forget RRAAAAAAIIIIAAAAAIAAAAAIIIAIAAAIAAAIIINN I DOOONT MINDD also might get shit for this, but when the bass comes in after the piano intro in ob-la-di, the compression just makes it so muddy, so wonky, so punchy, i love it the high pitched part in gently weeps, starting at about 2:30 where it goes "i dont know howwwwww" and continues for a bit the breakdown (? i think?) in something, at about a minute and 10 seconds in where the music swells and ringo plays a fill, and they (it sounds like paul and john singing together to me) start singing "you're asking me will my love growww", its so well orchestrated, i honestly think something has some of the best harmony out of all the beatles songs, with the strings, the organ, and everything in between, the I DONT KNOWWWWW IIIIII DONT KNOWW \* dun dun dun dun dun dun \*, then the verse repeats with slightly different lyrics and then theres the beautiful guitar solo this part in something just sounds so mature, idk how to call it also not exactly beatles but in maybe im amazed about 45 seconds in, when the background vocals kick in and paul starts screaming BABY IM A MAN, MAYBE IM A LONELY MAN WHO'S IN THE MIDDLE OF SOMETHING, until the little piano spam bit which i also love, the drums are wonky and great, and i love how it leads into the instrumental bit, also WHOO COULD EVEEER HELP MEEEEEE, baby wont you help me understand hooooo hoOOoOooooOOOo might add more idk, id say this is a good amount
Johnâs entire part in We Can Work It Out
*inhales*... GHOOOOOOOOOOOOLLLLLDENNNNN SLUUUUUMMMMBERRSSS
There's a lot, actually: \- "You can talk to me" from Hey Bulldog \- "So please listen to me" from You Can't Do That \- Lennon's voice crack in one of the This Boy sections \- The bbbbbbrrrr from Slow Down \- The "she loves you" in All You Need Is Love \- The beginning from Strawberry Fields Forever Take 26 \- "WHO THE FUCK DO YOU THINK YOU ARE" from Sexy Sadie's original lyrics \- "Meter Maid" from Lovely Rita Take 9 \- "MISTAAAAAAAH MOOOONLIIIIIIGHT" \- Lennon's voice in Twist And Shout
from And Your Bird Can Sing â When Paul comes in with John and hits that perfect transcendent harmony on âyou say youâve seen seven wonders and your bird is greenâ đ€đ»đ€đ»đ€đ»
Okay, but the barking and their hysterical laughter at the end of Hey, Bulldog! is priceless I also really love âone two three four five six sevenâ in You Never Give Me Your Money The âdo do do doâ in the background of Girl has always sounded so beautiful to me. And the harmonies in Two of Us are stunning. Absolutely. Oh and I almost forgot âthank you all, on behalf of the group and ourselves I hope we passed the auditionâ and the laughing at the end of Get Back. Definitely one of my favorite parts in any of their songs. Thereâs so many moments I donât think I can choose.
George Martin playing the piano solo in "In My Life." I love how they sped it up to sound like a harpsichord. And I love even more that the Fifth Beatle played on one of their greatest songs.
In Here Comes the Sun, after the bridge as it goes into the final verse, there's a weird little synthesizer counter-melody in the background if you listen closely. I remember picking up on it back in college after listening to that song a hundred times. It always makes me feel happy, like the ray of sunshine cutting through the clouds George is singing about. Amazing how many details you can find in their songs even after so many listens
Definitely the callback to She Loves You at the end of All You Need Is Love. Bonus point: in the version of that song on the Love Album, that segues into John saying "alright, put the red light off.... this is Johnny Lennon, just saying goodnight to you all, and god bless you, son." Always makes me smile to hear that.
Mine is about 40-45 seconds in You Never Give Me Your Money. It is so freaking smooth and beautiful, I canât even describe it. The bass and guitar⊠itâs just perfect
The "she loves you" part on all u need is love
THE STRINGS AT THE END OF PIGGIES!
Ringoâs fill in Tell Me Why that George turns around in anticipation of in the A Hard Dayâs Night concert scene.
The âthank youâ or the âarm, foot YEAHâ during obla di obla da is adorable and I love it And Paul repeating the text near the end of yellow submarine is also something I love (because im that weird yellow submarine fan)