Beatles II.

The response to the first "Beatles Moments" post was incredibly rewarding, if a bit overwhelming. Honestly, I should have known that there were so many fellow fanatics eager to indulge others with their favorite moments. With that in mind, along with the fact that I was forced by time constraints to eliminate a large number of my own favorites, here's Part II, with some reader contributions (Thank You) included as well. Last one, lest it start to get tiresome:

The Beatles are Going Crazy in the Middle of the Song. Of course, it all started on "Twist and Shout" (mp3), but it didn't stop there. The center of "Day Tripper" (mp3) ratchets up the aaaahhhhs before collapsing breathlessly into the verse again. The one on "Lovely Rita" (mp3) is nice as well. And, of course, the coup-de grace of all goings crazy in middles of songs, the patch linking John's part of "A Day in the Life" with Paul's (mp3). If you're not clear yet, it's a full orchestra playing 24 measures, with roadie and all-around good guy Mal Evans counting off in the background. Yes, counting. And, only John this time, the breakdown (and best part) of "Glass Onion" (mp3), which takes the "Oh yeah"s to their logical conclusion.

More Paul. Paul's "Joo-joo-dee, Judee Judee Judee Jud-ow! Wha--ow!" during the never-ending coda of "Hey Jude" (mp3) essentializes his enshrinement as the head of the British chapter of the Wilson Pickett fan club. And, speaking of codas, just tell me that the end of "Hello Goodbye" (mp3) isn't the total blueprint for the New Pornographers' "Bleeding Heart Show" finale. Just try and tell me. You won't be able to. And let's not forget "Get Back, Lorettuuuhh!" (mp3).

More John. Specifically, his middle eight on "This Boy" (mp3), which elevates the song to something grand from something dull, his second stab at the chorus of "You Really Got a Hold On Me" (mp3), where he runs wonderfully roughshod over the titular phrase, his double tracked opening salvo for "Baby You're A Rich Man" (mp3), and he and Paul's harmony on "I'm A Loser." Actually, he had me at "I'm a" (mp3).

John's Openings to Tossed-Off Beatle Songs. The greatest part of two songs that most put near the bottom---"Mr. Moonlight" (mp3) and "You Know My Name (Look Up the Number)" (mp3).

The Chorus of "Every Little Thing." Because it's simply one of the best they ever came up with. The John/Paul harmony, the fucking tympani drum, did you read that second one (mp3)?

Ringo intros George's Lead Break on "Honey Don't." "Aw, rock on George, for Ringo one time." Ringo, by a mile, had the most fun being a Beatle (mp3).

George Finally Smiles On Get Back. During John's bottleneck workout "For You Blue" (mp3), George forgets how much he hates Paul for a moment.

The Bridge and Guitar/Horn Lead Break of "Savoy Truffle." Because on just the left side, it's kind of scary (mp3).

George's Lead Break on "Fixing A Hole." Which, when iso'd from the rest of the stuff, sounds very proto-Tony Iommi-ish (mp3).

The Whole First Verse of "No Reply." Because it's pure Orbisonian theatre, with the great lit/fig double meaning of "I saw the liiiiiight!" (mp3)

The Transistion From "Back in the USSR" to "Dear Prudence." Because Prudence quietly slips out of the sock hop and goes outside to look at the stars (mp3).

The Transition From "Bungalow Bill" to "While My Guitar Gently Weeps." "Hey-Oh!" And wait a minute, I love Ringo's bum-bum tssss/bum-bum tsssss, too (mp3).

Horns. As in the French variety on the absolutely desolately heartbreakingly sad "For No One" (mp3) and the piccolo trumpet in "Penny Lane" (mp3). And the stately, morose alto and bass flutes that close "You've Got To Hide Your Love Away" (mp3). I wish I could put this whole song up, because it's just about perfect, whether it applies to John's hidden marriage to Cynthia, Brian Epstein, both, or neither.

The Sun Records Echo. At the start of "Everybody's Trying to Be My Baby" (mp3) is just blatant and perfect for "Carl" Harrison's paean to Perkins.

The Opening Guitar Bit From "I've Just Seen A Face." See the first comment from the first post (mp3).

The Middle of "All My Loving." Because for a non-single, it has just about every element that made the early (live) Beatles great. The pregnant pause between the verse and chorus, the "oooh" behind Paul's chorus and George's primitive solo. Just try to listen to it and not imagine them playing it live (mp3).

The SMACK/SILENCE That Opens "Anytime At All." Because it's the most gear way to open a song of all time, and because it allows me to type the phrase SMACK/SILENCE, which, if isolated, could mean a whole world of bad shit (mp3).

And of Course, Henry the Horse Dances the Waltz. And then it's trippy circus time. Legend has it, composed of live recordings of carousels cut up, thrown around the studio and re-taped randomly for "For the Benefit of Mr. Kite" (mp3). We all know ("We Can Work It Out", "Hide Your Love", etc.) that John loves his waltzes, and the one George composed, "I Me Mine" (mp3) scored perhaps the most memorable part from the Let It Be film, with John and Yoko dancing around the studio to it.

"Nothing's Gonna Change My World." Because that's the true mantra of "Across the Universe" (mp3) and a bold personal statement for the Beatle about to get all global up in this piece.

The Tail-End of "All You Need Is Love." During which Paul allows us to remember when "love" was just an interpersonal conceit three years earlier. No mas (mp3).