All the time spent playing live as they built up their skills paid off in a major way for The Beatles once they began recording. They were able to effortlessly translate those talents from the stage, resulting in moments on record that displayed their ability to make instrumental magic happen.
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We scoured their catalog to find five cool instrumental sections that demonstrate their chemistry. Without a word being sung in these passages, The Beatles still manage to mesmerize.
“I Saw Her Standing There” from Please Please Me (1963)
It’s kind of funny to think that Ringo Starr had only been a member of the band for a few months when this song was recorded. And it’s also wild when you realize there were doubts Starr could do the job. “I Saw Her Standing There” requires him to keep a furious tempo with absolute precision, and he gets it done quite nicely. In the instrumental break, Starr is the foundation that allows George Harrison to go sprinting on one of his showiest guitar solos. Meanwhile, Paul McCartney thuds away relentlessly on bass, and John Lennon fills in the gaps with his rhythm guitar.
“Girl” from Rubber Soul (1965)
“Girl” contains a lot of unexpected elements that make it more than just your run-of-the-mill character sketch. The lyrics get surprisingly deep at one point, seeming to take aim at the Catholic religion’s notion that suffering is the only way to salvation. There’s also the irreverent use of the word “tit” by the backing vocalists. But perhaps the most surprising of all the aspects of the song is the instrumental break, which surges from the lilting rhythm of the main section into a kind of stomping beat that’s reminiscent of a Russian folk song, as George Harrison plucks decisive notes on his guitar.
“And Your Bird Can Sing” from Revolver (1966)
This track has been included on so many “Underrated Beatles’ Songs” lists t’s hard to truly say it’s all that unheralded anymore. There’s a lot to love about it, including the soaring vocal harmonies. Speaking of harmonies, The Beatles also made the decision to include a twin-guitar attack featuring George Harrison and Paul McCartney playing together throughout the song. In a brief instrumental break, these harmonized guitars take center stage while hand claps punctuate the beat. The approach has been mimicked many times over, most notably on the Thin Lizzy classic “The Boys Are Back in Town.”
“Come Together” from Abbey Road (1969)
John Lennon missed a good chunk of the Abbey Road sessions while recuperating from a car accident. That’s why it’s such a McCartney-Harrison-centric album in terms of the songwriting. But Lennon delivered a bluesy wonder in “Come Together,” and it benefited from some wonderful instrumental chemistry. That shows up in the runout, as George Harrison’s slide guitar keeps inching up the ladder. And it’s also there in the break, as Harrison adds some more of those raindrop notes while Paul McCartney gets gritty with his piano work.
“Something” from Abbey Road (1969)
George Harrison’s masterpiece would have sounded amazing even if he had played it alone on acoustic guitar. But Paul McCartney and Ringo Starr delivered integral instrumental contributions that made a huge difference. (John Lennon wasn’t much of a factor here, playing some piano that’s buried somewhere in the mix). In the instrumental break, Harrison plays some of his most soulful slide, McCartney flutters all around him with countermelodies on the bass, and Starr displays exquisite touch with his rolling fills. It’s as beautiful a passage as any found in the band’s catalog.
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