Not my favorite one, but a remarkable fact: in eight bars of the 1964 throw-away EP track “I Call Your Name,” the Beatles casually invented* ska.
*Not quite, but not too far off!
Can’t pick just one either… I like their earlier music the best:
I Should Have Known Better
Tell Me Why
Do You Want to Know a Secret
If I Fell
You’ve Got To Hide Your Love Away
8 Days a Week
Oh yeah he was. Watch him play the bass live. Funky!
I’ve always liked that song too. I saw the Dead at RFK stadium in 1992 and they closed the show with that song as a second encore. It was awesome coupled with the special effects the Dead had.
Here is the set list from that show (another note, apparently the Deadheads were in a huge kerfluffle over the fact that they unveiled Casey Jones live for the first time in what I heard mentioned was over twenty years): https://www.cs.cmu.edu/~./gdead/dead-sets/92/6-20-92.txt
I found a video on YouTube of this exact show (is anything the Dead ever did not chronicled to death?). Tomorrow Never Knows is at the 1:23.40 mark as “Baba O Riley” ended and flowed into “Tomorrow”. I had a lot of fun at that show.
Aaarrgh, it is too hard to pick just one, but I can narrow it down to two: “We Can Work It Out” and “Blackbird”.
‘Blackbird’
‘Day in the Life’
‘While my Guitar Gently Weeps’
‘Back in the USSR’
‘Oh Darling’
Because reasons
Let It Be
“I’ll Be Back” is a good favourite of mine from earlier days.
ETA: Funny though, times were different then and some of The Beatles and indeed a lot of early Love songs smack of mysogeny today. I know that wasn’t the intent, but the world was a different place a half century ago.
Right this moment it’s Her Majesty.
I remember the first time I heard it at the end of the Abbey Road album. It was like a wonderful unexpected gift. It was like rich whipped cream on a fresh strawberry sundae. It’s still always a bit of a lovely surprise.
And I misspelled misogyny.
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Yes, that’s part of why I pick LAWR.
Definitely “Love Me Do”.
as many have said, my answer would change depending on when you ask me. just now, I think it’s Paperback Writer.
Leaffan, I swear I almost picked “I’ll Be Back.” I love the major-and-minor-of-same-key. I grew up with it on Beatles '65 (US album from December 1964). Only recently did I realize it was recorded much earlier in the year, for the U.K. Hard Day’s Night album.
Have you heard the 3/4-time failed take, on Anthology? Fascinating. John:“It’s too hard to sing!”
The fact that there are so many different answers to this question is a testament to the Beatles greatness.
No. In fact I have not heard anything from the anthology release.
It’s like a secret vault that I’ll eventually open, but I like having it locked away for now. Weird, eh?
I do that though with other bands that I like too. I like knowing that I still have undescovered gems to eventually unwrap.
I know zero about music, but I know what I like, and yes, I like “I’ll Be Back” because of the chords. I know there’s something going on with minor chords, but I’m clueless. I just know what I like. “No Reply” gives me a similar reaction.
Major? Minor? Beats the hell out of me. Maybe someone like Wordman can elaborate.
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Theory stuff? Not me! pulykamell?
A lot of songs have both major and minor chords in them – think of, say, “Let it Be,” which uses major chords except for the first chord of the chorus (on the word “be”), which is minor.
But it’s unusual to have a major and minor of the same root (for example, A major and A minor) in the same song. “I’ll Be Back” features this prominently. Starts out with the minor (“you KNOW”), ends the phrase with the major (“a-GAIN”). The acoustic guitar riff alternates between the two chords.
Another example of this you might have heard is Jethro Tull’s “Aqualung.” The gentle, acoustic-guitar verses start with the minor, but the third chord is the major of the same root. Poignant.
Hey! You’re perfectly knowledgeable to explain the difference between minor and major! 
But, since you rang, I’ll add a little tidbit. JKellyMap gave a solid explanation of what’s going on in the song, but I’ll add a name to it: the way it’s being used in that song is known as a “Picardy third.” It’s kind of a cliche, and I hear it a lot in modal church music (you know, like the Gregorian chanty/old timey sounding stuff you hear in Catholic mass, not the happy hippy 12-string guitar type of modern church music.) But basically, it’s when you, say, have a chord progression in a minor key, and then, instead of ending on the minor chord of the key you’re playing in, you end on the major chord.
The most in-your-face pop example that I can think of off the top of my head is the Turtles’ “Happy Together.” Take a listen here to the outro chorus. It’s alternating E minor and B major, but the final chord, instead of being E minor, as normally would happen, is a bright E major, which gives the song a sense of finality.
Actually, I quickly recorded an example using “I’ll Be Back” to show the difference. The first time through, I end on the minor chord. The second time through I end on the major chord (as in the recording.) Link. (I probably could have made it more obvious by playing the vocal harmony that’s a third above, but you should still hear the difference.)
My favorite is “Hey Jude”.