Title Patch Crew, Beatles (Part 3)

[D] ir | George's sitar experimentation opened Western ears to Indian music. The lyrics about feminine power challenged 1960s gender expectations while creating mystical atmosphere.

[A] You Heavy | Lennon's primal scream before heavy metal existed shreds vocal cords memorably. The descending guitar riff creates weight matching those desperate lyrics.

[C] Lady | Paul's music hall tribute to his mother Mary sparkles with nostalgia. Liverpool church performances inspired this hymn-like arrangement featuring unexpected syncopation.

[B] You're That | The flamenco guitar rhythm gives this exotic Mediterranean flavor. John and Paul's harmony blend creates tension mirroring the romantic ultimatum.

[B] Love Do | Their debut single launched everything from a simple request. George Martin initially disliked it, proving even genius producers misjudge sometimes.

[A] Oh | Paul screamed his vocals immediately upon studio arrival for authentic rawness. His Little Richard impersonation required throat spray between takes.

[C] When Sixty-Four | Paul wrote this as a teenager, saving it for later use. The clarinet arrangement evokes British dance halls where his parents met.

[D] I've A | Billy Preston's keyboards elevated this from rehearsal jam to single. The rooftop performance ended when police arrived, creating rock history.

[B] Your Sing | Paul's optimistic response to racial tension uses bird metaphors beautifully. Some stations banned it thinking "bird" meant something inappropriate.

[D] Ob-La-Di | Paul's Caribbean-influenced pop irritated John intensely during recording. The piano intro mistake became the keeper take, proving accidents create magic.

[C] Goodbye | Paul wrote this for Mary Hopkin while Beatles disintegrated. The bittersweet farewell theme reflected their own ending partnership unconsciously.

[A] Things Said | George's bitter reflection on band dynamics cuts deep emotionally. The harpsichord adds baroque flavor to this very modern relationship autopsy.

[D] the Window | John's surreal storytelling about unexpected entry sounds completely bonkers. Lennon claimed Allen Ginsberg's poetry influenced this absurdist narrative structure.

[C] She's Home | Paul's upbeat kiss-off to Jane Asher maintains cheerful vindictiveness throughout. The studio musicians struggled with the unconventional time signature changes.

[A] Said Said | John's monotone delivery emphasizes circular conversation frustration perfectly. The droning single chord underneath mirrors communication breakdown musically.

[B] Please Me | Recorded in one take after full day's work showed stamina. John's cold gave his voice that distinctive rasp fans still love.

[C] Hey | Paul's granny music features tubas and old-time singalong charm. John despised this vaudeville throwback but tolerated Paul's variety hour tendencies.

[D] Good Sunshine | Written during Hamburg's seedy nightclub era about daytime optimism. The simple progression proves three chords can still spread joy effectively.

[A] elle | Paul's French-language love song shows continental sophistication emerging early. The classical guitar arrangement predicts his later orchestral ambitions clearly.

[B] Day | Dual lead vocals create conversational dynamic between John and Paul. The riff reportedly came to Paul in a dream, fully formed.

[C] I Known | John's country-influenced confession about infidelity rings painfully true. The blue notes bent on guitar emphasize emotional regret throughout.

[B] Two Us | George's minimalist love song strips everything to acoustic essentials. His first lead vocal on an album showed growing confidence beautifully.

[A] Won't Me | John's harmonica drives this early rocker with Hamburg energy. The call-and-response structure creates live performance excitement in studio.

[D] caus | That opening drum pattern announced new sophistication arriving. The string arrangement uses minor sevenths creating mysterious romantic atmosphere throughout.

[D] Submarine | Ringo's children's song features kitchen utensils as percussion instruments. John blowing bubbles through straws created underwater effects convincingly.

[B] Rita | Paul's meter maid muse came from an actual parking ticket. The barrelhouse piano style shows his musical theater inclinations emerging.

[C] No | John's jealous stalker narrative feels uncomfortably realistic even today. The story structure follows protagonist from hope through devastating discovery.

[A] Fixing Hole | Paul's home improvement metaphor for marijuana experiences puzzles literal listeners. The harpsichord through Leslie speaker creates swirling psychedelic texture.

[A] I'm Tired | John's exhaustion during White Album sessions sounds audible here. The mumbling at song's end sparked "Paul is dead" conspiracies.

[B] Octopus's | Ringo's whimsical underwater fantasy gave him rare songwriting spotlight. George helped arrange it, showing bandmates supported each other's growth.

[C] I'm Loser | Dylan's influence pushed John toward confessional songwriting honesty. The country harmony vocals predict their later americana explorations nicely.

[D] Me You | McCartney's confident declaration uses gospel chord progressions effectively. The falsetto vocals show his complete vocal range control developing.

[D] Ballad John | John's avant-garde collaboration with Yoko pushed conventional boundaries completely. The experimental nature alienated fans but expressed authentic artistic vision.

[A] Gonna Girl | Response vocals work like Greek chorus warning protagonist futilely. The cowbell throughout adds urgency to romantic threat level.

[C] Will | George's promise of patience shows his romantic side emerging. The tremolo guitar effect creates dreamy atmosphere supporting devotional lyrics.

[B] Birth | Paul's carnival atmosphere celebration includes actual fairground organs recorded. The contrast between verses and chorus showcases their arrangement sophistication.

[A] I Someone | George's plea for reciprocation features twelve-string jangle prominently. This marked his emergence as serious songwriter alongside Lennon-McCartney.

[B] Your Should | Anna's original version influenced their Motown appreciation significantly. The harmonies stack impressively, showing vocal arrangement skills developing rapidly.

[C] You're Man | Vietnam protest disguised as anti-materialism anthem confused many. The fade-in opening reversed normal recording conventions deliberately.

[D] Sexy | John's Maharishi disappointment transformed into this scorching rocker. The dirty guitar tone predicts heavy metal's arrival years early.