of "Yellow Submarine" is broken by what Riley terms "the outwardly harnessed, but inwardly raging guitar" that introduces Lennon's "She Said She Said". The song marks the second time that a Beatles arrangement used a shifting metre, after "Love You To", as the foundation of 4/4 briefly switches to 3/4. Harrison recalled that he helped Lennon finish the composition, which involved joining three separate fragments of song. Having walked out of the session, McCartney may or may not have contributed bass guitar to the recording. In addition to lead guitar and harmony vocals, Harrison possibly performed the bass guitar part. The lyric was inspired in part by a conversation that Lennon and Harrison had with actor Peter Fonda in Los Angeles in August 1965, while all three, along with Starr and members of the Byrds, were under the influence of LSD. During the conversation, Fonda commented, "I know what it's like to be dead", because as a child he had technically died during an operation. Side two "Good Day Sunshine" "Good Day Sunshine" was written by McCartney, whose piano playing dominates the recording. The track was one of several contemporary songs that evoked the unusually hot and sunny English summer of 1966. Music critic Richie Unterberger describes it as a song that conveys "one of the first fine days of spring, just after you've fallen in love or started a vacation". The verses reflect aspects of vaudeville, while McCartney also acknowledged the influence of the Lovin' Spoonful on the composition. Overdubbed by Martin, the piano solo on the track recalls the ragtime style of Scott Joplin. The song ends with group harmonies repeating the title phrase, creating an effect that Riley likens to a "cascade" of voices "enter[ing] from different directions, like sun peeping through the trees". "And Your Bird Can Sing" "And Your Bird Can Sing" was written primarily by Lennon, with McCartney saying he helped on the lyric and estimating the song as "80–20" to Lennon. Harrison and McCartney played dual lead-guitar parts on the recording, including an ascending riff that Riley terms "magnetic ... everything sticks to it". Riley describes the composition as a "shaded putdown" in the style of Dylan's "Positively 4th Street", whereby Lennon sings to someone who has seen "seven wonders" yet is unable to empathise with him and his feelings of isolation. According to Gould, the song was directed at Frank Sinatra after