Beatles songs covered in class

Two songs in one on Sgt. Peppers. Verses by John, contrasting section by Paul. Problem was how to link them. Eventually they decided to fill the linking section with an orchestral crescendo. It was arranged by George Martin so that each player was free to play at their own pace from the lowest note they had to the highest note they would fit into an E Major chord. 40 orchestral players were present, wearing full evening attire, they recorded the section 4 times. Total amount of recording time was 34 hours.Final chord (another iconic sound) played by Paul, John, Mal & Ringo on three grand pianos, George Martin on harmonium. Notice Ringo's fills in the verse (overdubbed—he played bongos on the original rhythm track). Really musical, "plays the song," evokes what he called "the disenchanting mood" of John's lyrics.Album ends with a joke: dog-whistle tone (15 kHz), meant to be audible only by younger fans and pets (not for older people); then a mish-mash of what sounds like gibberish was pressed into the record's run-out groove, which is concentrical (doesn't end). John wanted to put something that would "snap" the audience out of it, and force them to get up and stop the record player.

"A Day in the Life"

Johns song on Let it Be album that recorded in 1968 as a demo before the band went to India, -one version released on No One's Gonna Change our World, a WWF benefit compilation album in 1969 -Spector took the demo version and overdubbed an orchestral/choral part (the 1969 recordings were never finished)

"Across the Universe"

This song on Magical Mystery Tour album became kind of a mantra for the counterculture; again happens at the perfect historical moment. Commissioned by the BBC for the first worldwide satellite simulcast, entitled "Our World". Aired on 25 June 1967. Combination of live performance elements (orchestra, lead vocals, bass, drums, lead guitar), other were pre-recorded (backing track with additional percussion and backing vocals). Martin was quite stressed due the technical difficulties; Lennon nervous, can be seen chewing gum (!) Released as a single in July '67 Coda becomes self-referential, John sings "Yesterday", and Paul "She Loves You"...

"All You Need is Love"

Song on Revolver album, in which its title references Marianne Faithful (singer, Mick Jagger's girlfriend). There is a dual guitar riff/solo (George & Paul). Written by Lennon, reference to a penis by him.

"And Your Bird Can Sing"

B-side to "All you need is love" on Magical Mystery Tour album. Another mantra-like song, attempting to recognize individual worth/beauty, John's response to people asking him how it felt to be on top of the world. Verses by John, chorus is an unrelated idea by Paul.

"Baby, You're a Rich Man"

Side One White Album song. Beach Boys influence (or spoof) Recorded without Ringo, who had left the band after being annoyed one too many times by Paul's particular requests on how to play drums on his songs. Ringo goes to Sardinia with his family. Rest of the band send him a telegram "you're the best rock drummer in the world and we love you"; he comes back to find his drum kit draped in flowers (George) -witty lyrics with numerous wordplay on California surf music and Soviet imagery -Paul played drums after Ringo left.

"Back in the USSR"

One of the Beatles most lavish songs (on Abbey Road album). -three part vocal harmony, triple-tracked to result in the illusion of nine voices. Arrangement uses an electric harpsichord (played by G.Martin), electric guitar, and Moog synth (George) -poetic lyrics by Lennon

"Because"

Song on Sgt. Peppers by John. The lyrics are taken from a vintage circus advertisement poster found by Lennon, circus interlude music done by cutting a bunch of organ and calliope recordings.

"Being for the Benefit of Mr. Kite!"

SIDE 2 White Album, inspired by civil rights movement in the U.S. "Black Bird=Black Girl" in English slang -guitar part shows influence of Donovan, but was also modeled in part on Bach's Bourrée from the E Minor Lute Suite (popular classical piece that Paul apparently dabbled with) -double track on the Paul's voice, foot taps (NOT A METRONOME), taped birdsong

"Blackbird"

Another of George's raga-rock fusions on Magical Mystery Tour album: this one is basically droning, static harmony, but doesn't use any exotic instruments. Summer of 1967, George spends some time in the US, including a famous visit to Haight-Ashbury in SF at the peak of the "Summer of Love" The song was composed when George was waiting for Derek Taylor (Beatles press agent) in a house on the L.A. hills; George smoked some weed and composed the song, capturing the atmosphere of the moment You can hear some clear example of phasing (especially on the lead vocals and the drums): ADT machine is manipulated in real time by slowing down one of the two tapes; the result includes sound waves that are shifted against one another, creating a phase cancellation (swooshing sound, sounds like a jet engine flying by); what you hear something that is not "real" drums sound The visual elements from the film really amplify the atmosphere of the songs, and this song is a good example of that.

"Blue Jay Way"

song on abbey road side one 1969, song written by John, inspired by campaign slogan for Timothy Leary. Lyrics refers to each different Beatle. John recorded all the vocals, Paul was reportedly disappointed he didn't get to sing it together with John as in the good ol' days, lead guitar by George.

"Come Together"

Song on Side 1 of White Album. Paul on drums, notice guitar picking part; influenced by Donovan who they met in Rishkesh, written about Mia Farrow's sister, Prudence; friendly piece.

"Dear Prudence"

Single let it Be, taken off the album Let It Be by Spector -later put back on by Paul for the Let It Be... Naked project -sung at the rooftop concert in 1969

"Don't Let Me Down"

Ringo's first solo composition song on white album. -average Carl Perkins/Buck Owens country song, rendered both weirder and more interesting by the intense use of effects (sped-up tape, weird out of tune violin part, double-tracked voice...)

"Don't Pass Me By"

Written and sung by John on Revolver, references a New York doctor who prescribed stimulants to his patients, maybe also dentist who introduced Beatles to LSD, notice the change of tone/arrangement in the bridge, as if signaling the drug taking effect.

"Dr. Roberts"

FIRST song by a rock band to be recorded using only classical instruments, written by Paul on Revolver. Strings are close mic'd: bigger, warmer, bassier sound (the session players were horrified and kept trying to move further away). Melody is largely in dorian mode, uneven phrase length.

"Eleanor Rigby"

Song on Sgt. Peppers. Psychedelic elements, harpsichord, gnarly guitar solo/fills, solo by George, one of the longest.

"Fixing a Hole"

Paul's song on Revolver that uses an almost Baroque instrumentation (clavichord, strings), terrific French horn solo played by Alan Civil ("greatest horn player in London" at the time). Solo is hard both because of high register (top note is actually outside of the instrument's conventional range). Lyrics are dark, almost depressing.

"For No One"

-straightforward 12-bar blues by George song on let it be album side 2 -John plays lap steel guitar/solo -reference to famous slide guitarist Elmore James in George's commentary over the solo

"For You Blue"

Single associated with let it Be, John playing lead, back to the old skiffle rock & roll days, A side of the single

"Get Back"

Trademark piano and bass style song on Sgt. Pepper's. Another set of optimistic/sarcastic lyrics (Paul and John) . The title of the song refers to Jimmie Nicol-Ringo's temporary replacement for the 1964, tambura again for sustained effect on 3rd verse.

"Getting Better"

Song by John on White Album side 1. -lots of references (lyrical and musical) to previous Beatles songs, coupled with a few Liverpool references ("cast iron shore"). -once again John is trying to be mysterious/throw the critics off his scent, but he's mainly playing with language

"Glass Onion"

Revolver, side 2 song by Paul. Literally about the weather, defines the mid-period McCartney sound. Notice fake meter change in refrain, piano solo by George Martin.

"Good Day Sunshine"

Song on Sgt. Peppers Side Two. Inspired/lampooning a breakfast cereal advertisement. Lyrics critique the boredom and sameness of suburban life and societal expectations. Constantly changing meters in verse. Acid guitar solo/fills by Paul. The coda features a sequence of diff animals sound recordings.

"Good Morning, Good Morning"

A song written by John but given to Ringo to sing on white album side 4, written as a lullaby for Julian, augmented by a deliberately cheesy arrangement by George Martin upon Lennon's request.

"Good Night"

Written and sung by Paul on Revolver, his personal ode to marijuana. A swinging brass arrangement, notice the change in timbre/color when the guitars come in towards the end of the song.

"Got to Get You Into My Life"

Song on White Album Side 1 -three ideas stitched together, John gave credit to George for helping figuring out ways for his unfinished songs to come together. Opening lyrics come from an acid trip; the rest is often interpreted to reference John's new heroin habit (though he denied it), and explicit sexual tension towards Yoko (what John said the song is about—she is Mother Superior!) -complex time/meter changes, highly irregular; the band rehearsed it a lot in the studio in order to pull it off ("like the old days") -guitar solo by George, generally strong performance by everyone -title comes from the cover of a gun magazine that George Martin showed to John, he thought it was absurd but liked the sound of it (also there's a bit of a phallic thing going on throughout the song)

"Happiness Is a Warm Gun"

Paul's song on magical mystery album. -started as a joke with Alistair Taylor (Beatles aide); Paul asked him to shout out words, and he would compose a song by responding with the opposite -John was expecting that the a-side was going to be "I Am the Walrus", disappointed that the more commercial song was picked by George Martin

"Hello Goodbye"

White album side 3, Paul's song. -Paul read a review of a record that was defined as "the craziest sounding ever"—heard the song in question and thought it wasn't nearly crazy/heavy enough. Decided to write a heavy tune in reply to accusations of only writing ballads. One of the recorded takes turned into an extended-30 minutes jam -although an Helter Skelter is simply a kind of corkscrew slide common in British playgrounds, Manson took the title to refer to "Hell" and used the song as a major inspiration for his doomsday/race riot scenario -Stereo and mono versions on album differ—stereo has much longer coda, with two fake fade-outs before Ringo yells "I got blisters on me fingers!" -"Helter Skelter" belongs to a string of "heavy" Beatles tunes (reaching back to "Ticket to Ride", "Day Tripper", and "Paperback Writer", and pointing forward to "I Want You/She's So Heavy," which contributed to the formation of the early British Heavy Metal sound (obviously alongside other bands like Zeppelin, Sabbath, etc)

"Helter Skelter"

Abbey Road Side 2 song by George. CLASSIC. -written in Clapton's garden, longing for/appreciating the simple pleasures of life at a time of strife/stress—not unlike "Octopus's Garden" in a way -iconic fingerstyle guitar intro, but without the restrictions of a rigid arpeggio pattern -lots of synth (Moog) in the arrangement, gets progressively more obvious throughout the song

"Here Comes the Sun"

Paul's song on Revolver. Obvious response to Pet Sounds by the Beach Boys. Harmonically very complex, frequent modulations to the bridge

"Here, There, and Everywhere"

Kind of a heavy song on yellow submarine album, guitar riff, almost porto-metal. Recorded in 68, before going to India. George possibly plays the solo. Paul barks.

"Hey Bulldog"

Single associated with the white album, A side song written by Paul to console Julian at the time of his parent's divorce. John thought the song was actually written for him. -incredibly long coda, almost a foreteller of future "stadium Rock" anthems. Orchestra only appears in the coda (surprise!) -in the coda the session musicians were asked to overdub vocals and handclaps—a few asked asked to be paid a double fee and were not included in the recording as a result. -longest #1 single -channelling Lil Richard

"Hey Jude"

Song inspired by acid on Magical Mystery album, an example of psychedelia; lyrics written by John deliberately to confuse/"egg-on" the critics. Also includes modified nursery rhymes, and an overt reference to Lewis Carroll (though later John said he should have picked the carpenter as the good guy, not the walrus!) Superb, complicated arrangement: the four Beatles, a small orchestra, guest singers (Mike Sammes Singers, 16-piece choir specializing in studio work), tape sound effects, and a live recorded radio broadcast The harmony is surreal, magical: continuously confuses or obfuscates the home key, uses only major chords (usually it would be a combination of major and minor chords); John uses 11 of out 12 available chromatic notes in his harmonies (again, unusual) The coda uses a real-instrument version of the Shepard tone: an acoustic phenomenon that gives the impression of a neverending pitch that continuously rises or falls (like a barbershop pole). Bass line in the outro descends; strings ascend; seemingly continously. The radio was incorporated live, at random, and happened to capture a live performance of Shakespeare's King Lear, including the infamous line "O untimely death" that was seen to refer to Paul being dead. Consider American composer John Cage, who composed Imaginary Landscape No. 4 (1941) for twelve radios, resulting in a completely different piece depending on when/where it was played. John knew of Cage (the Beatles had submitted a copy of the lyrics for "The Word" for his project Notations), but I don't know that he was "thinking" of Cage when he employed the radio in this manner. Happy coincidence to get the dramatic reading right when they were doing the sound effects recording. The structure of the song is seemingly complicated: two-part verse, second part of verse serves as a pre-chorus, bridge and intro use the same music (though the bridge also "morphs" into the pre-chorus); outro employs the shepard tone/sound effects/nonsense chorus/radio play.

"I Am the Walrus"

Song on let it be album that was finished in January 1970 by George, Paul, and Ringo. John had privately quit the band in September of 1969 -the last Beatles song to be recorded by the band while all four members are still alive (John not present though) -changes of meters in verses/chorus -lyrics are a commentary on egotism and selfishness -notice completely unnecessary orchestral overdubs (Spector)

"I Me Mine"

Two distinct songs, both composed by John on Abbey Road album, stitched together/alternating. One of the band's longest tracks (not the longest though, that is Rev 9) -Very repetitive, dooming, John plays lead guitar on this track Ending section (coda) features multiple overdubbed guitars to create heavier sound blended in with white noise from the Moog synthesizer (played by John again). Coda itself is nearly 4 minutes long Minimalist lyrics are referring to Yoko

"I Want You/She's So Heavy"

Written and sung by George on album Revolver. Lyrics are reflected in the stuttering introductory riff, as well as in the very strange cord in the verse on which the piano seems to get "stuck". Chord is unstable, dissonant, very unusual for rock and roll music.

"I Want to Tell You"

Trippy psychedelic song by John on Revolver, not overtly about drugs but could easily elude to LSD, backwards guitar solo & fills by Paul add to the trippiness of the song

"I'm Only Sleeping"

Noisy, psychedelic freak-out, recorded in 67 on yellow submarine album. It uses different instrumental timbres/textures, lots of guitar feedback (much wilder than "I Feel Fine"). Lyrics referring to being overwhelmed by LSD.

"It's All Too Much"

John's song on white album side 2, dual meaning about his mother and also Yoko. John saw Yoko as a mother figure. "Ocean Child" is one of the possible translations/meanings of Yoko's name -the only solo recording by Lennon from the Beatles timeframe. He was not into the idea of individual members recording by themselves. Both Guitar and voice are double tracked; Donovan-inspired guitar part

"Julia"

Single associated with yellow submarine, a noteworthy sax solo by Ronnie Scott; however it's partially covered by George, Paul and John singing a mock-kazoo line. -lyrics describe the toiling of a Liverpool working class mom

"Lady Madonna"

A classic ballad on let it be album by Paul, gospel-inspired, notice horrid delay effect on hi-hat, second verse. Let it be exists in three versions: album, 1970 single and naked version, each features a different guitar solo by George

"Let It Be"

Georges song on white album side 3, kind of a love poem to the divine. -strange sound at the end is a combination of a rattling whiskey bottle (which was sitting on top of the organ and would resonate/rattle when certain notes were played), combined with a drum roll, vocalization by George, and pick scrape on the guitar strings. Really awesome, esoteric sound, expressing the inexpressible (and therefore quite fitting to the song in question)

"Long, Long, Long"

Written and sung by George, on Revolver, uses Indian (sitar, tambura, tablas) and electric instruments, structure mirrors classical Hindustani music. This song is about love as a universal concept/cosmic love.

"Love You To"

John's song on Sgt. Pepper's that was inspired by John's son Julian's drawing. Not about drugs apparently, iconic psychedelic track, double tracked vocals by John, very active bass by Paul, adventurous harmonies, meter changes, tambura drone, guitar through Leslie cabinet and lower organ.

"Lucy in the Sky with Diamonds"

White Album side three song, Paul's song. -inspired by one of the Maharishi's lectures -Donovan inspired guitar part -brass arrangement+distant timpani sound, recorded by Paul halfway down the hall with the studio door open -John and Ringo "walked in" on Paul recording this tune alone -John also wrote a song about the same lecture, entitled "Child of Nature" (Esher Tapes); he later changed the lyrics and title into "Jealous Guy"

"Mother Nature's Son"

Weird song=Ringo on abbey road album. Second solo composition for Ringo. He came up with the idea while on vacation in Sardinia when he learned that octopi make underwater gardens with rocks and shiny objects -part escape fantasy, part children's song -George helped put together the arrangement,great lead guitar parts, bubble sound effects during solo -Paul playing piano as well as bass and background vocals

"Octopus's Garden"

Song by George expressing his disillusionment with the Beatles publishing business on yellow submarine album. Originally recorded for Pepper, G. Martin blocked its release (asked George to try and write something better→"Within You, Without You"). Weird arrangement (glockenspiel, trumpet), dissonant harmonies.

"Only a Northern Song"

Single A side, huge fuzz guitar & bass sound, heavier version of "day tripper." Paul decides to write this song about a book=one of his new character songs.

"Paperback Writer"

Single associated with Sgt. Pepper: Paul's song. Song reflects places in his childhood in Liverpool and has a lot of sincerity, lyrically. Complex harmonies, he uses pivot chords to modulate between different keys for verse and chorus. Picolo trumpet solo performed by David Mason Paul's first psychedelic song

"Penny Lane"

George's song on white album side 2 that is a political, satirical topic, baroque elements like instrumentation and arrangement -lyrics were interpreted by Charles Manson to be a coded message; he and his followers carved the words "Pigs" or "Piggies" on their victim's bodies. George was horrified when he found out

"Piggies"

Single B side, rhythm track was recorded at a faster speed, slowed down for different sound. In this song, John recorded his solo vocals with the tape running a little slower, so once sped up his voice would sound a little higher, a little off pitch=provided dreamy feeling. ** Backwards vocals in last verse because John was high (first time on a rock record)

"Rain"

A song mainly done by George, John, with help from Yoko on white album side 4 -shows the influence of John Cage ("Williams Mix"), Stockhausen, and Edgard Varèse -very strange mix of stock audio, orchestral symphonic samples, bits of John's voice from the recording sessions, all cut/pasted/reversed into a dream-like scenario -notice the startling effect (called "acousmatic") that happens when you are confronted with a familiar sound "masked" or otherwise hidden from its expected source. In "Revolution 9" the most obvious example is the entrance of John's voice, which is manipulated/fragmented, yet suddenly recognizable as his own

"Revolution 9"

Single associated with the white album, B side. John's song one of the three revolutions, the single version is a more typical rock song.

"Revolution"

Paul's song on Sgt. Pepper album that has a "fake live show" concept, audience noise at the beginning, tuning, cheering, acting as a MC on their own album (introducing Billy Shears), Paul plays the abrasive, acid lead guitar lines on Sgt. Pepper, George only sings back up on that track, goes straight into "With A Little Help From My Friends"

"Sgt. Pepper's Lonely Hearts Club Band

John song on Revolver, related to an LSD-party incident with E. Bron and Peter Fonda, notice two part bridge: meter changes, Paul did not play on this song (had a 'barney' with the others and left the studio), George most likely played bass on this song.

"She Said, She Said"

No rock instruments, just the voices and small orchestra song on Sgt. Pepper's by John and Paul. No Ringo. Lyrics are about youth emancipation and the difficulty of communicating between older and current generation. The comments from the parents were contributed by John; the parents kind of evolve over the course of the song, but they still don't get their daughter. Notice the complex prosody again: phrase lengths are asymmetrical, melody kind of tumbles around, almost like the image of the girl tiptoeing down the stairs.

"She's Leaving Home"

Slightly older song by George on abbey road album, -verse and Bridge are in different keys that are somewhat related, but also quite distant. Change of key in bridge is perceived like a big "lift" propelling the song to new heights -George on lead guitar, Paul's bass part, Ringo's drumming, Martin's orchestral arrangement. Right at the end of the Beatles' career, George's pieces finally get the attention/care they deserve (mostly thanks to his own arranging process)

"Something"

Single associated with Sgt. Pepper, John's song. Took 55 hours to complete. End version was a spliced together product of two different takes. The opening is taken from one of the early band takes, with Mellotron, slide guitar (not very loud/prominent in the part they used) and a generally more stripped down sound; the second part was a later orchestration by Martin (on John's request) and included cellos, brass instruments, and a Swarmandel (indian zither), in addition to the band

"Strawberry Fields Forever"

George's song on Revolver, opens album with voice counting down, it is George's second non-love song, lead guitar by Paul, similar to the Batman theme song. It is anti-establishment song, against incredibly high British taxation rate for people making as much $ as the Beatles

"Taxman"

single associated with abbey road, 1969 song by John chronicling the events leading to and following his marriage to Yoko had idea for the song and wanted to record it right away, so he called up Paul John and Paul working closely together and having fun despite the touchy subject matter -they record all instruments heard on the track (Paul on bass and drums) -banned in the US for the blasphemous refrain, and in Spain for politics (rock of Gibraltar is contested b/w Spain and the UK -released as a single in May 1969, the B-side was George's "Old Brown Shoe" -song refers to John and Yoko's first "bed in" for peace; their new theory of bagism (if anyone wore a bag over their head/body there would be no prejudice); and the acorns they sent to various world leaders as an invitation to plant trees, not drop bombs

"The Ballad of John and Yoko"

Another Gospel-inspired song by Paul, really heavy-handed production by Spector on let it be album side 2. -lazy bass playing by John, almost to the level of sabotage -Spector ended up choosing an early run-through rather than the "final" take, removed guitar and electric piano, added a Disneyesque, overly-dramatic orchestral arrangement

"The Long and Winding Road"

Written by John on Revolver. Psychedelic masterpiece; title is another of Ringo's malapropisms. Harmonically static, uses acoustic and Indian instruments. George Martin has said it would be not possible to replicate this song exactly due to the random processes they did when recording it in the studio-a lot of changes in volume. May the first Beatles song in which the title does not appear in the lyrics.

"Tomorrow Never Knows"

Song by Paul & John on Let it Be Side 1, funny intro by John (completely unrelated) folky sound, is Paul addressing Linda or John?

"Two of Us"

Song on Sgt. Peppers Side Two. Written in honor of Paul's dads 64 birthday, and getting old. Arrangement by Martin, clarinet trio, emphasizes Paul's music hall style, kind of corny but also charming.

"When I'm Sixty-Four"

George's song on White Album. Originally a mellow, acoustic guitar driven ballad (see Esher Tapes). Lead guitar by Eric Clapton (the Yardbirds, Cream), joins the session on George's invitation. Because they had a guest, everyone was on their best behavior -Clapton's guitar fills (happening when the voice is not singing), which feature wide, controlled string bends (pushing the string sideways to change its pitch) and expressive, voice-like vibrato -the solo was treated with generous amounts of tape flanging (slowing down one side of the tape so that it goes out of sync with itself), to make it sound more Beatles-y -solo was played on a Gibson Les Paul, which features a slightly shorter string length allowing for easier, smoother bends. Eric gifted the guitar ("Lucy") to George after the session

"While My Guitar Gently Weeps"

A song that jokingly refers to Ringo's singing troubles on album Sgt. Pepper, song pair represents Paul's two styles: rock and broadway, written by Lennon/McCartney but sung by Ringo.

"With A Little Song From My Friends"

George's song on Sgt. Peppers Side Two/ another song that was recorded by only one Beatle (Like Yesterday). Indian instruments are the dilruba, tambura, and tabla; George also plays a nice sitar solo.

"Within You, Without You"

Written by Paul but lead vocals by Ringo on Revolver album (narrow melodic span to accommodate his vocal range), written as a psychedelic children's song, lyrics convey ideas of community, friendship and love, Mal Evans led a conga line with various quests.

"Yellow Submarine"

Abbey Road Medley, an attempt from Paul to do something on a symphonic scale, finished and unfinished songs strung together, includes songs by both Paul and John) -written by Paul while honeymooning with Linda, about/against Allen Klein (also slightly escapist...notice a pattern?)

Abbey Road medley: "You Never Give Me Your Money"

Abbey Road Medley, -reprises "You Never Give Me Your Money" with some bed-time related lyrics

Abbey Road medley: "Carry That Weight"

Abbey Road Medley, -with lyrics by Thomas Dekker (17th C. British poet)

Abbey Road medley: "Golden Slumbers"

Abbey Road Medley, -originally discarded and cut out of the medley (appeared between Mr. Mustard and Polythene Pam—hence the crashing chord at the beginning of the clip) -it was spliced at the end of the master tape by studio assistants who were told never to throw away anything from the sessions -Beatles liked the surprise/light effect and left it on. Unlisted on the album cover until the '87 CD re-release ("ghost track")

Abbey Road medley: "Her Majesty"

Abbey Road Medley, -written by John in India -story song about nothing at all

Abbey Road medley: "Mean Mr. Mustard"

Abbey Road Medley, -about a woman with a plastic film fetish. -John ties it to previous song by changing the name of Mr Mustard's sister

Abbey Road medley: "Polythene Pam"

Abbey Road Medley, -relates a real-life incident of fans breaking into Paul's home to steal some pictures (since returned) and clothes -takes a break after this song, then it's straight through the end

Abbey Road medley: "She Came in Through the Bathroom Window"

Abbey Road Medley, -written by John, three part harmony -famous "word salad" bridge

Abbey Road medley: "Sun King"

Abbey Road Medley, -Ringos' only drum solo in the Beatles catalogue -followed by guitar solos by the Paul, George, and John, in order, repeated three times

Abbey Road medley: "The End"