What makes a great McCartney bass line | Fab forum

In this thread, I will list what I feel to be Paul's best bass performances, along with some brief justification for these views.  This isn't a "top 10" or "top 5" list; I will only list those songs I feel to be in the "top-rank," with no particular care about how many that comes to. 

What makes for a "great" McCartney bass riff?  I think it has to come from Paul's distinctive and unique style, and not from instances where he is being derivative (copying the style of others).  Paul's distinctive style of bass playing could also serve as predicates for McCartney himself as a person; McCartney is at his best when his bass playing is moody, bi-polar, and restless.  In a sense, I think it can be argued that Paul really isn't fully himself as an artist outside of some of his most honest and fully realized bass lines.  With that said, here is my list of the finest Paul bass performances (with the Beatles):

• Hey Bulldog – This is, in my opinion, his best.  Especially pay attention to his riffing starting at 2:12.  The whole song, however, is masterfully moody and expressive.
• Sexy Sadie – Without Paul, this one would have been a real snoozer.  McCartney's bass is what makes this one truly fascinating. 
• Being for the Benefit of Mr.Kite – Goes from brilliantly menacing to whimsical with plenty of other moods in between. The middle part of this song would be a complete disaster were it not for Paul's incredibly interesting bass line.  Again, this probably wouldn't even be a very good song without McCartney.  But with McCartney and Lennon together, it's an artistic triumph. 
• I want you (She's so heavy) – McCartney's bass is the only reason to listen to this one, but that's a very good reason.  The guitar and vocal melodies in the "She's so heavy" part are good too, though.  
• With A Little Help From My Friends – Lots of creative little diversions.  Gives the song its soul.  As usual, McCartney's bass is the melodic and emotional "center" of the Beatles.
• Rain – This one is really interesting, I think, because it's right on the cusp of McCartney really coming into his own as an artist and as a bass player.  He's starting to find himself in this one, I think.  
• You're Going to Lose that Girl – This one is sort of like Rain: interesting from the standpoint of McCartney's development as an artist.  This is one of the first songs where he really seems to start experimenting and being more adventurous and ambitious. 
• Something – Whimsical and creative.  Steals the show.  Great one.
• Dear Prudence – Paul takes awhile to warm up in this one, but when he does he delivers one of his classics.  I think a strong argument could be made that this is his best.  Very mature, unusual, and surprising.  Very experimental tonally, but in a pure and honest manner (i.e. without resorting to a lot of special effects).  Can't praise this one enough.  
• Taxman – I put this one in with Rain.  I think this one is a sign of things to come.  Some see this as perhaps his best performance, and it's certainly a very impressive piece of playing both technically and creatively.  But I still see this as a great but transitional piece of playing.  It's still somewhat derivative: it's more like "McCartney playing Motown" than a truly pure Paul McCartney piece.