doubts this, given that the backing track, recorded on 6 May at Olympic Studios, predated the worst altercations between Klein and McCartney. The track is a suite of varying styles, ranging from a piano-led ballad at the start to arpeggiated guitars at the end. Both Harrison and Lennon provided guitar solos, with Lennon playing the solos at the end of the track. This song transitions into Lennon's "Sun King" which, like "Because", showcases Lennon, McCartney and Harrison's triple-tracked harmonies. Following it are Lennon's "Mean Mr. Mustard" (written during the Beatles' 1968 trip to India) and "Polythene Pam". These in turn are followed by four McCartney songs, "She Came In Through the Bathroom Window" (written after a fan entered McCartney's residence via his bathroom window), "Golden Slumbers" (based on Thomas Dekker's 17th-century poem set to new music), "Carry That Weight" (reprising elements from "You Never Give Me Your Money", and featuring chorus vocals from all four Beatles), and closing with "The End". "The End" features Starr's only drum solo in the Beatles' catalogue (the drums are mixed across two tracks in "true stereo", unlike most releases at that time where they were hard-panned left or right). Fifty-four seconds into the song are 18 bars of lead guitar: the first two bars are played by McCartney, the second two by Harrison, and the third two by Lennon, and the sequence is repeated two more times. Harrison suggested the idea of a guitar solo in the track, Lennon decided they should trade solos and McCartney elected to go first. The solos were cut live against the existing backing track in one take. Immediately after Lennon's third and final solo, the piano chords of the final part of the song begin. The song ends with the memorable final line, "And in the end, the love you take is equal to the love you make". This section was taped separately from the first and required the piano to be re-recorded by McCartney, which was done on 18 August. An alternative version of the song, with Harrison's lead guitar solo played against McCartney's (and Starr's drum solo heard in the background), appears on the Anthology 3 album and the 2012 digital-only compilation album Tomorrow Never Knows. Musicologist Walter Everett interprets that most of the lyrics on side two's medley deal with "selfishness and self-gratification – the financial complaints in 'You Never Give Me Your Money,' the