Guess the Beatles Song from a Lyric (3)

[B] Ob-La-Di, Ob-La-Da | Paul accidentally sang "Desmond stays at home and does his pretty face"—they kept the gender-bending mistake for chaos.

[B] You're Going to Lose That Girl | Call-and-response vocals filmed for Help!—watch George and Paul literally singing into John's ears.

[C] Girl | John's sharp intake of breath between verses? He was literally inhaling as if smoking—subtle drug reference via respiratory rhythm.

[A] The Fool On The Hill | Alistair Taylor witnessed Paul's 5 AM hilltop meditation that birthed this—thought his boss had gone mad.

[B] She's Leaving Home | Based on Melanie Coe's Daily Mirror runaway story—she'd actually won a Paul-judged dance contest years earlier.

[D] When I'm Sixty-Four | Written when Paul was 16, recorded when his father turned 64—clarinet courtesy of two classical session players.

[A] I Feel Fine | Feedback intro happened accidentally when John's Gibson J-160E touched his amp—first deliberate feedback on any pop record.

[D] I Want You (She's So Heavy) | 7:47 of primal repetition ended by John physically cutting the master tape with scissors—brutal editing as artistic statement.

[A] I've Got A Feeling | Rooftop concert resurrection of two separate songs—John's "Everybody Had a Hard Year" grafted onto Paul's optimism.

[B] Oh! Darling | Paul destroyed his vocal cords for a week practicing screams each morning before recording—method acting meets Merseybeat.

[C] Hey Bulldog | Piano riff so complex that John played it while Paul handled bass—then they barked at each other for the outro.

[A] Love Me Do | Session drummer Andy White replaced Ringo, who got relegated to tambourine—his revenge was outlasting everyone

[D] And Your Bird Can Sing | George and Paul's dual guitar harmony took 11 hours—John called it "horror" despite writing it.

[B] Good Day Sunshine | Recorded after watching The Lovin' Spoonful—Paul's competitive response to "Daydream" using similar weather-based euphoria.

[A] She Said She Said | Peter Fonda's acid trip confession to John became this death meditation—bad trips make great time signatures.

[C] Please Please Me | George Martin wanted this as their first single—John's harmonica and Roy Orbison obsession in 1:59.

[C] Michelle | McCartney's art school party trick of fake French became Grammy-winning sophistication when he asked Jan Vaughan for real words.

[C] Hello Goodbye | Alistair Taylor asked Paul how he wrote songs—McCartney demonstrated by making opposites rhyme on the spot.

[D] She Came in Through the Bathroom Window | Apple Scruffs actually broke into Paul's house—he turned burglary into the Abbey Road medley.

[B] You Won't See Me | Jane Asher screening Paul's calls became this Motown tantrum—

[B] I Should Have Known Better | Harmonica holder broke during filming—John held it between takes with his teeth like a musical pirate.

[C] No Reply | Telephone rejection inspired by "Silhouettes"—John's paranoia about Cynthia turned into perfect pop persecution.

[C] Things We Said Today | Written on a yacht for Jane Asher—minor key prophecy about their future past tense.

[A] Two Of Us | Acoustic only because George quit for three days—John and Paul's last real collaboration disguised as Linda tribute.

[D] Yellow Submarine | Ringo's vocals, bubbles blown through straws, and chains in a bathtub—children's music via maritime drug trip.

[C] I'm So Tired | Three weeks in Rishikesh without cigarettes produced this insomnia anthem—meditation doesn't cure nicotine withdrawal.

[D] Because | Yoko playing Beethoven's "Moonlight Sonata" backwards gave John these chords—classical theft in reverse.

[C] Lovely Rita | Meta Aspinall's parking ticket to Paul transformed into sexual innuendo about traffic wardens.

[B] Fixing A Hole | Not about heroin despite everyone's theories—Paul literally fixed his Scottish farm's roof while high on different substances.

[D] I Will | 67 takes for this lullaby—Paul hummed the bass part because actual bass would've destroyed the intimacy.

[C] Octopus's Garden | Ringo quit, learned about octopus gardens from a boat captain, wrote this, then George helped with the music—underwater escapism.

[A] The Ballad of John & Yoko | Just John and Paul in the studio—George in America, Ringo filming, but Paul played Ringo better than Ringo.

[A] From Me To You | Written on the Helen Shapiro tour bus after seeing "From You To Us" in NME—journalism becomes #1 single.

[A] I'm a Loser | Dylan convinced John to write honestly—this self-loathing in major key fooled everyone except John himself.

[D] You're Gonna Lose That Girl | Duplicate question gets fresh perspective: filmed in one take with genuine cigars for Help!'s studio scene.

[A] Your Mother Should Know | Paul's music hall DNA emerged—those matching white suits marked Brian Epstein's last creative input.

[B] Sexy Sadie | "Maharishi" became "Sexy Sadie" on George's legal advice—character assassination via pronoun substitution.

[D] Baby, You're a Rich Man | Recorded at Olympic Studios on a rented eight-track—Brian Jones's uncredited oboe makes this psychedelic sneer.

[D] Mother Nature's Son | Paul alone at 2 AM, engineers banned by tension—nature documentary scored while the band decomposed.

[B] Birthday | Written, recorded, mixed in one day for Pattie Boyd's birthday—spontaneous combustion in A major.