Name some of your favorite fragments of Beatles songs

It could be a backing vocal, a drum fill, a verbal interjection, whatever.

Please post a link (with time of awesomeness indicated).

I will start with two:

The opening of “I Saw Her Standing There” - “One - Two - Three - FAH!”

In “I Should Have Known Better”, Lennon’s vocals at 1:00: "And when I ask you to be mine, "Hi-Hi-Hiiiiiiine

I like the bit in “Ticket to Ride” where Ringo fools you by *not *doing a drum fill. Throughout the song he follows “she’s got a ticket to ri-hi-hide” with a little roll on the toms or snare. The last time though, you’re perhaps expecting some big flourish to finish with, but he just taps the snare once. Always makes me smile.

Whoops, here’s the link:

The instrumental bit at the beginning (and other places) of “Come Together”

“I’ve got blisters on my fingers!!” – The whole essence of blues/rock wrapped up in that one mock desperate exclamation.

Baby You’re A Rich Man – For a couple of brief moments (the first line of the second and third verses), Ringo’s drumming enters another dimension. It’s so unRingo-like that I wondered if someone else was playing but apparently it’s him.(at :48 and 1:45)

Oh, Jeez, there are so many. Here are just a few.

Paul’s “Yah-hah!” during the part where he echoes Ringo’s vocals in “Yellow Submarine”: (2:15)

Lennon’s voice breaks slightly on the last chorus of “And Your Bird Can Sing”: (1:27)

The cacophony of barnyard sounds at the end of “Good Morning” gradually pares down to a single chicken’s soft clucking, which ends in a squawk that turns into the guitar chard that starts off the “Sgt Pepper’s” reprise. Sorry, couldn’t find a clip that includes both as it is the precise dividing point between the two songs.

Ninja’d on “I’ve got blisters on me fingers” at the end of “Helter Skelter”.

The intro to Black Bird. A deceptively difficult bit to learn on guitar, but I’m trying.

This is one of the reasons I love playing along to “Ticket to Ride”.

I sing along with the “Frère Jacques” backing vocals during “Paperback Writer”.

I like George’s chatterduring the guitar solo in For You Blue.

I know it’s kind of a cheesy choice, but the “She loves you yeah yeah yeah” in the fadeout to “All You Need Is Love” always puts a smile on my face when I hear it.

My gosh, there are hundreds! I’ll mention one now – a nice little guitar lick (I assume it’s George) in CarryThat Weight (at 2:07 in this link) – only because I happened to hear it yesterday, and thought “that would have fit well in the thread we had a few months ago on favorite very short guitar solos.”

And here’s one more, from the other end of the Beatles timeline: the John-Paul harmony in I’ll Get You (at 0:22) at the word “I’m” (in the phrase “imagine I’m in love”). I linked to the live version (as heard on Anthology), because the vocals are more present.

I’m not sure what that interval is (a fourth?), but it’s awesome. Just on the cusp between sunny and dark, like the lyric.

Nice one! Nitpick: I think it’s a “flam” (snare hit in very quick succession by both sticks).

The chord at the end of A Day in the Life.

Another one that never fails to give me a goose bump:

In “If I Fell”, the three-part harmony is sublime. There is one point, though, when all three seem to strain to reach a particular note (if our new love, was in VAIN).

I’m no singer, but it seems a tough note to hit. To my ears they miss it by a hair, but it feels just right.

Hear it at 1:45

“If I Fell” is two-part harmony, right? A wonderful harmony, but just John and Paul.

Thanks JKellyMap, a flam, eh? My knowledge of drumming has now increased from “nothing” to “virtually nothing.”

Another bit that amuses me is the Flower Pot Men noise Paul makes during the instrumental break in “I’ve Just Seen a Face”:

I’ve Just Seen a Face 1:00

A Flower Pot Man

I stand corrected (just assumed it was three).

Anyone care to comment on whether that note was just a little off? I could be wrong about that as well.

Ximenean – ha!

Another moment…when John or Paul* bursts into a She Loves You" during the (partly live) fade-out of “All You Need Is Love.” Even as a little kid, I was aware of the poignant, deep contrast this evoked, a jolting overlay of “moptop lads” and “sophisticated hippies.”

And to think that this jolting contrast is about changes that took place over, what, three years at the most. Three years! Western popular music and most of the culture around that is so STATIC nowadays. If I played you a song from, say, 2004, and told you it was from 2007, would you say, “No way! Are you nuts? That’s totally 2004! There’s nothing 2007 about it at all!”?? Of course not! It would be ludicrous. (We had an interesting thread about this about a year ago.)

*Alan Pollack figured out it’s John at first, soon joined in unison by Paul, IIRC. John then songs a bit of “Yesterday,” which I never recognized as that.

Oh no, Paul’s voice definitely cracks a little on that high note.

Well, to start at the beginning… One thing I always enjoy in “Love Me Do” is the reverberation that occurs in the silence that follows “So PLEEEE_EASE…”