[157] "Dig a Pony""Dig a Pony" is the 60th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[158] "I've Got a Feeling"
The middle 8 is used once, lasting 5 measures and 14 seconds, totaling 8.7% (19/218) of the song's duration.

[159] "Don't Let Me Down"
The middle 8 is used once (as the keystone of a palindromic structure), lasting 8 measures and 25 seconds, totaling 11.6% (25/215) of the song's duration.

[160] "Get Back"
"Get Back" is the 61st Beatles original not to use a middle 8. The chorus instead serves as a contrast to the verses.

[161] "Two of Us"
The middle 8 is used twice, lasting 6 measures and and 14 seconds, totaling 13.0% (28/216) of the song's duration.

[161b] "Maggie Mae"
The middle 8 is used once (although that's debatable), lasting 8 measures and 15 seconds, totaling 37.5% of the song's duration. But, of course, this is incomplete. Had the full song been present, no doubt the middle 8 would not constitute such a significant portion of the track.

[162] "Dig It"
"Dig It" is the 62nd Beatles original not to use a middle 8. The novel structure has no need for a middle 8.

[163] "For You Blue"
"For You Blue" is the 63rd Beatles original not to use a middle 8. The novel structure has no need for a middle 8.

[164] "Let It Be"
"Let it Be" is the 64th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[165] "The Long and Winding Road"
The middle 8 is used twice (including the break as a middle 8), lasting 4 measures and 14 seconds each time, totaling 12.8% (28/218) of the song's duration.

[166] "The One After 909"
The middle 8 is used twice, lasting 16 measures (which can be subdivided into two 8-bar phrases) and 21 seconds each time, totaling 24.1% (42/174) of the song's duration.

[167] "I Want You (She's So Heavy)"
"I Want You (She's So Heavy)" is the 65th Beatles original not to use a middle 8. The novel structure has no need.

[168] "Ballad of John and Yoko"
The middle 8 is used once, lasting 8.5 measures and 16 seconds, totaling 8.9% (16/179) of the song's duration.

[169] "Old Brown Shoe"
The middle 8 is used twice, lasting 12 measures and an average of 20.5 seconds each time, totaling 20.7% (41/198) of the song's duration.

[170] "Something"
The middle 8 is used once, lasting 8 measures and 28 seconds, totaling 15.4% (28/182) of the song's duration.

[171] "Oh! Darling"
The middle 8 is used twice, lasting 8 measures and averaging 33.5 seconds, totaling 32.4% (67/207) of the song's duration.

[172] "Octopus's Garden"
The middle 8 is used once (although that's debatable), lasting 8 measures and 21 seconds, totaling 30.0% (21/170) of the song's duration.

[173] "You Never Give Me Your Money"
"You Never Give Me Your Money" is the 66th Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one.

[174] "Her Majesty"
"Her Majesty" is the 67th Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one.

[175] "Golden Slumbers"
"Golden Slumbers" is the 68th Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one.

[176] "Carry that Weight"
"Carry that Weight" is the 69th Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one.

[177] "Here Comes the Sun"
The middle 8 is used once. Due to time signature changes that could be interpreted in any number of different ways, counting the duration of the middle 8 in measures is pointless; however, in seconds the duration is 41 seconds. This totals 22.2% (41/185) of the song's duration. The middle 8 consists of 6 iterations of the same pattern (the part with the lyrics "Sun, sun, sun, here it comes") in the first of which vocals are omitted.

[178] "Maxwell's Silver Hammer"
"Maxwell's Silver Hammer" is the 70th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[179] "Come Together"
"Come Together" is the 71st Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[180] "The End"
"The End" is the 72nd Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one.

[181] "Sun King"
"Sun King" is the 73rd Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one.

[182] "Mean Mr. Mustard"
"Mean Mr. Mustard" is the 74th Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one.

[183] "Polythene Pam"
"Polythene Pam" is the 75th Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley" does not need one.)

[184] "She Came in Through the Bathroom Window"
The middle 8 is used twice, lasting 6.5 measures and averaging 14 seconds, totaling 23.7% (28/118) of the song's duration.

[185] "Because"
The middle 8 is used once, lasting 4 measures and 19 seconds, totaling 11.5% (19/165) of the song's duration.

[186] "I Me Mine"
The middle 8 is used twice, lasting 10 measures and 18 seconds both times, totaling 24.7% (36/146) of the song's duration.


Complete Middle 8 chart:

Formal structure of [120] "Hello Goodbye":
          Verse 1        0:00-0:21
          Chorus        0:21-0:38
          Verse 2       0:38-0:59
          Chorus        0:59-1:16
          Break (v)    1:16-1:37
          Chorus         1:37-1:53
          Verse 3        1:53-2:14
          Chorus         2:14-2:36
          Coda 1          2:36-2:45
          Coda 2         2:45-3:29

Comments: No intro, it just starts right up with the first verse (as did [15] "All My Loving", [19] "Not a Second Time", [29b] "Long Tall Sally", [42] "No Reply", [46b] "Everybody's Trying to Be My Baby", [58] "I'm Down", [61] "Wait", [68] “We Can Work it Out”, [76] "Girl", [85] "I'm Only Sleeping", [95] "Penny Lane", and [118] "Flying").

In a Beatles first, "Hello Goodbye" uses two codas - the first concluding the "song proper" and the second improvised coda tacked on just for fun. (Note: [93] "Strawberry Fields Forever" also used two codas, but that was the product of studio manipulation - fading out, then fading back in again - rather than a compositional choice by the songwriters, so I do not count it as two separate formal divisions here.)

The break in the middle of the song (1:16-1:37) is based on the verse (i.e. same chords as verse). Interpreting the break as a verse, then, we can see how the song consists of four iterations of the grouping of verse +chorus, with a couple of codas tacked on at the end:

Formal structure of [119] "The Fool on the Hill":
          Intro (verse)   0:00-0:04
          Verse 1             0:04-0:17
           Bridge              0:17-0:27
          Chorus             0:27-0:41
                    Extension 0:41-0:44
          Verse 2           0:44-1:07
           Bridge            0:57-1:07
          Chorus           1:07-1:21
                    Extension 1:21-1:24
          Solo 1 (verse)   1:24-1:37
          Bridge              1:37-1:47
          Chorus            1:47-2:00
                    Extension  2:00-2:03
          Solo 2 (verse)    2:03-2:16
          Bridge                2:16-2:27
          Chorus              2:27-2:40
                    Extension 2:40-2:43
          Coda (solo/verse) 2:43-2:59

Comments: Each "chorus proper" is eight bars long, followed by a brief two-measure extension at the end, which serves to switch the tonality from D minor to D major.

In just a Beatles 6th (after [29b] "Long Tall Sally", [38] "I'm a Loser", [46b] "Everybody's Trying to Be My Baby", [46e] "Honey Don't", [56b] "Dizzy Miss Lizzy", and [58] "I'm Down") , "Fool" contains two solos, plus the coda incorporates the solo. All three times, the music is the same and played by the same instrument, and also all three times it uses the chord progressions of the verse, but with the recorder replacing the vocals.

Many recent McCartney tunes have been divided into three macro-scale sections, with each section consisting of a particular pattern of smaller formal divisions. "Fool on the Hill" follows suit, with four macro-scale sections, each consisting of a verse (solo), bridge, and chorus (with extension), with an intro and coda tacked on as bookends.

Whereas the catalog numbers between A/B Road and Sulpy in Part 1 of this series happened to correspond, beginning with Part 2 that is no longer true (which, of course, is why an analysis like mine is needed - to match the A/B Road tracks with Sulpy's discussions and analysis of those tracks).

Notice that while the majority of tracks from both sources correspond chronologically, some do not and are out of order. For example, Sulpy #3.95 corresponds to A/B #3.138, while Sulpy #3.94 and 3.96 correspond respectively to A/B #3.131 and 3.133. Why are they out of order? I have no idea...

But where at least that error in chronology still puts the takes as being from the same day, other instances commit yet greater chronological errors by citing the same track on different days. A/B #3.81 is listed as Sulpy #8.30. So was this track recorded on January 3 or January 8? Similarly, Sulpy #s 3.99-3.101 correspond to A/B #s 6.19, 6.28 - 6.30. So were these tracks recorded on January 3 or 6? I am inclined to believe A/B in such situations as A/B appears to be the more thorough and more current of the two catalogs.

I've also noticed on a couple of Sulpy's descriptions that they appear to be multiple A/B tracks which were combined into a single Sulpy track. For example, A/B #3.98 corresponds to Sulpy #s 3.72 and 3.73. I'm not entirely sure why or how that happened, or what that means.

Also, Sulpy #3.79 appears to be missing from A/B. Why? I am uncertain. Perhaps as I wade through the rest of A/B I'll discover it on some other day's recording.

This comparative effort is cumulative, meaning that each successive part of this series will include the results of the previous post in the series. Thus, here is a PDF of both parts 1 and 2:

Formal structure of [118] "Flying":
         Section A (beat)        0:00-0:31
         Section A  (horn)      0:31-1:02
         Section A (vocals)    1:02-1:31
         Coda (independent)  1:31-2:15

Comments: This even beats out [1] "Love Me Do" as the simplest formal structure of any Beatles song. There is only one section (even "Love Me Do" had two!), which is repeated twice (for a total of three iterations). The chord progressions are identical in each: a 12 bar blues. The biggest difference is the instrumentation: first it's heard just with rhythm section, then with a horn (or, more precisely, a mellotron set to sound like a horn), and finally with vocals.

For good measure, a coda (musically independent from the rest of the song) is tacked on at the very end.

[121] "The Inner Light"
The middle 8 is used twice, lasting 8 or 9 measures and 23 or 18 seconds each time (the second iteration transitions to the coda, accounting for the slightly shortened duration), totaling 26.3% (41/156) of the song's duration.

[122] "Lady Madonna"
The middle 8 is used thrice (with the middle of those three replacing vocals with a saxophone solo), lasting 8 measures and 18 or 17 seconds each time, totaling 38.7% (53/137) of the song's duration. The middle 8s also modulate from A Major to C Major.

[123] "Across the Universe"
"Across the Universe" is the 46th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[124] "Hey Bulldog"
"Hey Bulldog" is the 47th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[125] "Revolution 1"
"Revolution 1" is the 48th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[126] "Don't Pass Me By"
"Don't Pass Me By" is the 49th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[127] "Revolution 9"
"Revolution 9" is the 50th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[128] "Blackbird"
The middle 8 is used twice, lasting 4.5 measures and 11.5 seconds each time, totaling 16.7% of the song's duration.

[129] "Everybody's Got Something to Hide Except for Me and My Monkey"
"Everybody's Got Something to Hide Except for Me and My Monkey" is the 51st Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[130] "Good Night"
The middle 8 is used thrice, lasting 4 measures and 14 or 15 seconds each time, totaling 22.3% of the song's duration.

[131] "Ob-La-Di Ob-La-Da"
The middle 8 is used twice, lasting 8 measures and 15 seconds both times, totaling 16.0% of the song's duration. The middle 8 tonicizes IV.

[132] "Revolution"
"Revolution" is the 52nd Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[133] "Cry Baby Cry"
"Cry Baby Cry" is the 53rd Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[134] "Helter Skelter"
"Helter Skelter" is the 54th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses.

[135] "Sexy Sadie"
The middle 8 is used twice, lasting 5.5 measures and averaging 11.5 seconds each time, totaling 11.9% of the song's duration.

[136] "While My Guitar Gently Weeps"
The middle 8 is used twice, lasting 16 measures and 34 seconds each time, totaling 23.69% of the song's duration. The middle 8 modulates from A minor to A major.

[137] "Hey Jude"
The middle 8 is used twice, lasting 11.5 measures and 37.5 seconds each time, totaling 17.5% of the song's duration.

[138] "Mother Nature's Son"
The middle 8 is used twice, lasting 7.5 measures and 21 seconds each time, totaling 25.1% of the song's duration.

[139] "Yer Blues"
The middle 8 is used thrice, lasting 4 measures and averaging about 10 seconds each, totaling 12.1% (29/239) of the song's duration.

[140] "Rocky Raccoon"
The middle 8 is used twice, lasting 8 measures the first time and 9 measures the second (because the second middle 8 concludes the song), averaging 24 seconds each, which totals 22.6% (48/212) of the song's duration.

[141] "Wild Honey Pie"
"Wild Honey Pie" is the 55th Beatles song not to use a middle 8. The novel structure of the song has no need for a middle 8.

[142] "Back in the USSR"
The middle 8 is used twice, lasting 10 measures and 17 seconds each time, totaling 14.7% (24/163) of the song's duration.

[143] "Dear Prudence"
The middle 8 is used once, lasting 5.5 measures and 17 seconds, totaling 7.2% (17/235) of the song's duration.

[144] "Glass Onion"
The middle 8 is used once, lasting 10 measures and 19 seconds, totaling 13.9% (19/137) of the song's duration. This middle 8 concludes with two bars borrowed from the end of verse B.

[145] "I Will"
The middle 8 is used once, lasting 8 measures and 19 seconds, totaling 18.1% (19/105) of the song's duration.

[146] "Birthday"
The middle 8 is used twice, lasting 10 measures and 14 seconds each time, totaling 17.3% (28/162) of the song's duration. The middle 8 modulates form A major to C major.

[147] "Piggies"
The middle 8 is used once, lasting 7 measures and 18 seconds, totaling 14.6% (18/123) of the song's duration.

[148] "Happiness is a Warm Gun"
"Happiness is a Warm Gun" is the 56th Beatles song not to use a middle 8. The novel structure of the song has no need for a middle 8.

[149] "Honey Pie"
The middle 8 is used twice, lasting 8 measures and 13 seconds each time, totaling 16.3% (26/160) of the song's duration.

[150] "Savoy Truffle"
The middle 8 is used twice, lasting 8 measures and averaging 15.5 seconds, totaling 21.1% (31/174) of the song's duration.

[151] "Martha My Dear"
The middle 8 is used twice, with the first iteration incorporating a substantial extension. The first middle 8 (extension included) is 15.5 measures and 42 seconds long; the second is 8.5 measures and 23 seconds long. Combine these two, and the middle 8 totals 43.9% (65/148) of the song's duration.

[152] "Long Long Long"
The middle 8 is used once, lasting 7.5 measures and 26 seconds, totaling 14.1% (26/185) of the song's duration.

[153] "I'm So Tired"
"I'm So Tired" is the 57th Beatles song not to use a middle 8. Instead, the chorus serves as a contrast to the verses.

[154] "The Continuing Story of Bungalow Bill"
"The Continuing Story of Bungalow Bill" is the 58th Beatles song not to use a middle 8. Instead, the chorus serves as a contrast to the verses.

[155] "Why Don't We Do It In The Road"
"Why Don't We Do It In The Road" is the 59th Beatles song not to use a middle 8. (There is no contrast to the verses, with the possible exception of the percussion introduction).

[156] "Julia"
The middle 8 is used once, lasting 5 measures and 18 seconds, totaling 10.2% (18/176) of the song's duration.


Updated cumulative chart:

Formal structure of [117] "Blue Jay Way":
          Intro (verse)  0:00-0:24    q=74
          Verse 1             0:24-0:49     q=74   
          Chorus             0:49-1:10      q=102
          Verse 2             1:10-1:32      q=74
          Chorus              1:32-1:53      q=102
          Verse 3              1:53-2:13    q=74
          Chorus              2:13-2:31      q=102
          Chorus              2:31-2:49      q=102
          Chorus             2:49-3:07      q=102
          Chorus              3:07-3:21      q=102
          Coda (chorus ) 3:21-3:55      q=102

Comments: So many contiguous choruses! Many other Beatles songs have used two choruses in a row ([44b] "Kansas City/Hey Hey Hey Hey", [58] "I'm Down", [73] "Think For Yourself", [90] "Good Day Sunshine", [113] "It's All Too Much", and [114] "All You Need Is Love"), but four in a row (plus the coda, which is based on the chorus) is a new record for a Beatles track. (The previous record was "Kansas" with 4 in a row including the , but they were two different choruses - "Blue Jay Way" uses the same chorus four times in a row.)

Also notice that the formal structure is articulated by a tempo change: the verses are all quarter note = 74 beats per minute, while the choruses are all quarter note = 102 beats per minute. (If there is a metric modulation at work, I can't discern one - and I would love to be corrected.) This change is reinforced by a change in beat subdivision. The verses use duple beat divisions (straight eighths) while the choruses use triple divisions (swung eighths).

Formal structure of [116] "I Am the Walrus":
          Intro (break)   0:00-0:21
                    organ    0:00-0:04
                    strings    0:04-0:16
                    beat     0:16-0:21
          Verse A1    0:21-0:39       "I am he as you ..."
          Verse B1    0:39-0:55        "Sitting on a cornflake ..."
          Chorus     0:55-1:04           "I am the eggman ..."
          Verse A2    1:04-1:35         
                    verse proper  1:04-1:21    "Mister city ..."
                    extension  1:21-1:35          "I'm crying ..."
          Verse B2    1:35-1:52              "Yellow matter custard ..."
          Chorus    1:52-2:00                  "I am the eggman ..."
          Break (intro)    2:00-2:25
                    bell   2:00-2:03
                    strings   2:03-2:12
                    vocals (break, VB)  2:12-2:25        "Sitting in an English garden..."
          Chorus   2:25-2:36                  "I am the eggman ..."
          Verse A3    2:36-2:53            "Expert textpert ..."
          Verse B3     2:53-3:09     "Semolina pilchard ..."
          Chorus    3:09-3:25
                    chorus proper   3:09-3:17       "I am the eggman ..."
                    extension   3:17-3:25            
          Coda (ind)   3:25-4:35                     "joo ba joo ba joo ba ..."


Comments: "Walrus" features one of the most sophisticated formal layouts of any Beatles song. Its fragmentary nature (which is the result of three unrelated musical ideas Lennon composed on three different acid trips which were combined to produce the song) contributes to the druggy, scatterbrained effect.

The introduction is in three parts (previous multi-part intros were [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", and [31b] "Matchbox", [37] "Baby's in Black", [38b] "Mr. Moonlight", [45] "I Feel Fine", [46e] "Honey Don't", [47] "Ticket to Ride", [62] "Run For Your Life", [63] "Norwegian Wood (This Bird Has Flown)", [66] "If I Needed Someone", [77] "Tomorrow Never Knows", [79] "Love You To", [81] "Paperback Writer", [82] "Rain, [84] "Taxman", [89] "I Want to Tell You", [92] "She Said She Said", [97] "Sgt. Pepper's Lonely Hearts Club Band", [98] "Good Morning Good Morning", [102] "Lovely Rita", [104] "Getting Better", [105] "Within You Without You", [110] "Baby, You're a Rich Man", [113] "It's All Too Much", and [114] "All You Need Is Love"), with the electric piano alone opening the song, followed shortly by the addition of strings, and finally the drums and bass. Musically, it is based on the break, with which it shares both melodic and chordal patterns as well as subdivisions: Both can be divided into three related sub-sections. But where the third sub-section of the intro adds the bass and drums, the third section of the break adds vocals, the melody for the first half of which is the same as the violins' melody during the second subdivision of the intro; the second half, however, is borrowed from Verse B - the part that leads to the chorus - and the chorus is precisely where the song proceeds.

There are actually two different verses, labeled A and B above. While not unrelated (in fact, they start almost identically with the same melodic notes as well as supporting chords), they are certainly not identical. Every time Verse A is heard, it leads to Verse B, however Verse A2 throws in an extension ("I'm crying ...") before segueing to Verse B. Similarly, every time Verse B is heard, it leads to a chorus (and thus functions somewhat like a bridge).

The final chorus features an extension, rather similar to Verse A2. But where the extension of Verse A2 was to break up the pattern of immediately following Verse A with Verse B, the purpose of the chorus extension is to propel the song to its coda.

Somewhat similar to how many McCartney tracks can be viewed as three macro-scale iterations of some combination of verses, middle 8s, and/or choruses, so too "Walrus" can be seen as three macro-scale iterations of Verse A, Verse B, Chorus, with the Intro and Break inserted to provide contrast (notice there's no Middle 8 to do the job) and with an unrelated coda tacked on at the end.

Given the Beatles' popularity, it is no surprise that the world of Beatles bootlegs (unofficially released recordings) has spawned a massive underground following and culture. I have just recently discovered the bootleg series known as A/B Road (thank you, Rob!), which is the largest and most thorough available audio documentation of the January 1969 recording sessions that ultimately produced the album we now know as Let it Be. Despite the official release of the album and film of the same title, this period is ironically both the most misunderstood and most well-documented month of the entire Beatles saga. In an effort to help explain and understand this critical and volatile moment in Beatles history, authors Doug Sulpy and Ray Schweighardt teamed up to write a definitive reference text on these recording sessions, systematically and painstakingly sorting, analyzing, and cataloging every extent snippet of audio (musical and otherwise) available from that month. Their results were published first in 1994 under the title Drugs, Divorce and a Slipping Image: The Unauthorized Story of the Beatles' Get Back sessions, and then again in 1997 under the title Get Back: The Unauthorized Chronicle of the Beatles' Let It Be Disaster. It is this latter version of the book that I am concerned with.

Despite their thoroughness, Sulpy and Sweighardt's text is incomplete compared to A/B Road . I assume, then, that A/B Road was released after Get Back, and that's why the book does not include all the audio that is found in A/B. In any case, the book and the recordings do match, but only to a certain extent. I have been unable to locate a comparison of the two (i.e. detailing what corresponds to what between the text and the audio) so this blog will be the first in a 20-part series (one blog for each of the twenty days the Beatles spent recording Let it Be) comparing the tracks of A/B Road with the analysis and commentary of Doug Sulpy and Ray Schweighardt's book Get Back: The Unauthorized Chronicle of the Beatles' Let It Be Disaster. I hope that other Beatles fans and scholars will find this useful. (I'd hate to think of anybody bothering to do all this work again!)

Due to formatting concerns, I am including my findings only in PDF format (as opposed to plain text format, such as these very words).  So here is part 1 of 20, 1969.01.02, with the A/B tracks listed on the left, and the corresponding Sulpy catalog on the right (which just so happens to be identical for this first day - but certainly won't be identical in the future).

Formal structure of [115] "Your Mother Should Know":
          Intro  (verse)   0:00-0:04
          Verse 1              0:04-0:27
          Verse 2             0:27-0:47
          Break                 0:47-1:30
          Verse 3 (ext.)  1:03-1:31*
          Break                  1:31-1:46
          Verse 4 (dbl ext.)  1:46-2:28*

Comments: With no middle 8, the break instead serves as a contrast to the verses. The chord progressions of the verses and the breaks are similar (which is one reason why I opted not to call the break a middle 8), but different enough to serve as a mild contrast.

Verse 3 features an extension, consisting of a repeat of the last four bars of the verse. Verse 4 goes one further, adding a second extension by repeating those last four bars of the verse twice. This double extension serves as a makeshift coda, as the song otherwise lacks one.

Lastly, verses 1 and 2 are contiguous (as was the case previously with [1] "Love Me Do", [7] "Do You Want to Know a Secret", [8] "Misery", [9b] "Anna (Go To Him)", [9c] "Boys", [9d] "Chains", [9f] Twist and Shout, [10] "From Me To You", [13e] "Till There Was You", [17] "Little Child", [19] "Not a Second Time", [23] "Can't Buy Me Love", [25] "And I Love Her", [26] "I Should Have Known Better", [28] "If I Fell'', [29] "I'm Happy Just to Dance With You", [31] "A Hard Day's Night", [31b] "Matchbox", [32] "I'll Cry Instead", [35] "Things We Said Today", [40] "I Don't Want To Spoil the Party", [41] "What You're Doing", [42] "No Reply", [43] "Eight Days a Week", [44] "She's a Woman", [44b] "Kansas City/Hey Hey Hey Hey", [46d] "Words of Love", [47] "Ticket to Ride", [49] "I Need You", [50] "Yes It Is", [51] "The Night Before", [52] "You Like Me Too Much", [54] "Tell Me What You See", 56b] "Dizzy Miss Lizzy", [56c] "Bad Boy", [57] "I've Just Seen a Face", [59] "Yesterday", [66] "If I Needed Someone", [68] "We Can Work it Out", [71] "Michelle", [77] "Tomorrow Never Knows", [80] "Paperback Writer", [82] "Doctor Robert", [84] "Taxman", [88] "Yellow Submarine", [89] "I Want To Tell You", [92] "She Said She Said", [95] "Penny Lane", [96] "A Day in the Life", [99] "Fixing a Hole", [100] "Only a Northern Song", [101] "Being for the Benefit of Mr. Kite", [105] "Within You Without You", [111] "All Together Now", and [114] "All You Need Is Love").