Intro, solo, outro, accompanying throughout-the-song part--whatever you like. Always interesting to me to see what people who exclusively or primarily play one instrument like in/about another instrument's usages. Not sure if there's any meaning or pattern here, but mine (all referring to the original/album versions), FWIW, are 1) Layla. That sudden shift to and looooong outro of the piano-centric part gives me the goosebumps every time. So much poignant peace, or at least resignation's melancholy near-graces, there. 2) Wild Horses. Kinda a Duke Ellington approach. Minimal plinks here and there, a little fill at a line's end like a memory-lingering gesture, full chords at key/punchier moments, resonating all the more because of it. ("Angie" takes the same thing a biiiiit too far, and is washed out anyway by those over-lush strings, when I'm not in the mood for 'em.) 3) Waiting on a Friend. Them British boys know a thing or two about how sweetly lace-like the pye-anna can be, (even) when the drums and guitars are snapping and chiming. 4) Let It Be. Whoo-whee, those rich chords are like church windows. 5) Baby, It's You (Shirelle's original) Love when a piano is used as the primary bass notes. The echoey tack-hammer tones here are great. Fit the song's reverbed melodrama really well. (And offset that mid-song roller-rink-organ-with-a-sinus-problem solo.) Just listing, from here onward: 6) Something in the Night, Racing in the Street 7) Ever Since I Put Your Picture in a Frame 8) High-Flyin' Bird 9) Lyin' Eyes (sorry, Dude!) 10) Not Feelin' It Anymore 11) Against the Wind 12) Like a Rolling Stone, Sign on the Window, Just Like Tom Thumb's Blues, We Better Talk this Over, You're a Big Girl Now, Dignity, Queen Jane Approximately, Jokerman, I'll Keep It with Mine 13) Good Things (Kathleen Edwards) 14) Bridge Over Troubled Water You?