Episodes

6d ago

In this episode of our Beatles podcast, we invite music critic and musician Giggens into the room to help us pick apart why this cover still hits like a shot of adrenaline. Let's take Rock and Roll Music and make it Beatles. We kick off with our usual on-mic chaos, then settle into the fun stuff: how we frame a song, what we listen for, and why John’s full-throttle vocal changes the game. Along the way we test the line between rock and roll and rock, talk pacing and sequencing on Beatles For Sale, read period liner notes out loud, and let Giggens weigh the musician brain against the critic brain. It is playful, fast, and very us. No spoiler-y deep dives, just the energy of a barn burner, a few ridiculous jokes, and an honest, punchy verdict at the end. If you like hearing passionate people argue about what makes a performance work, this one’s for you. Website: https://www.notebynoteseries.com Patreon: https://www.patreon.com/cw/NoteByNoteSeries Instagram: https://www.instagram.com/notebynoteseries Hosted on Acast. See acast.com/privacy for more information.

Dec 6

This week on our Beatles podcast, we cover “Baby’s in Black”, not just a normal track on Beatles for Sale. It’s a doorway. Peter and Kenyon step through it and bring listeners along, mixing storytime with close listening and a lot of spirited back-and-forth. They trace a line from early Hamburg nights and an art-school circle to a song that feels old and new at the same time, then dig into why that mood fits this moment in the album. You’ll hear them puzzle out who carries the tune when two voices move as one, why this waltz feel hits differently, and how a few studio choices shaped what we now hear. If you like episodes where the conversation changes how the song lands, this one’s for you. Come for the harmonies, stay for the way longing and loss thread through the whole thing. Website: https://www.notebynoteseries.com Patreon: https://www.patreon.com/cw/NoteByNoteSeries Instagram: https://www.instagram.com/notebynoteseries Hosted on Acast. See acast.com/privacy for more information.

Dec 6

In this session on “Baby’s in Black,” Kenyon treats the song as both language and architecture. The lesson begins with the title and first line, tracing how color words shape meaning and mood, then tests competing readings of grief, longing, and the implied triangle in the lyric. From there, we map the form into three functional sections, compare the blended vocal lines to ask where the “main” melody actually lives, and situate the waltz-like feel within compound meter. Harmony is handled as design rather than trivia, highlighting the familiar movement of the outer sections and the brief middle turn that refreshes the tonal space without leaving home. We also profile the arrangement choice that makes this recording singular: the bent-and-slid guitar figures that frame the track and color the solo. Throughout, the aim is precision: how phrasing, interval choice, and form combine to make a small song carry big emotional weight. Hosted on Acast. See acast.com/privacy for more information.

Nov 29

This week on our Beatles podcast, we dive into “I’m a Loser” with Kenyon, Peter, and special guest Abby Devoe. The trio explores how the song feels and what it does. They frame “I’m a Loser” as a bold statement in peak Beatlemania, talk about how vulnerability reads as power, and trace the way the track announces a new voice in John’s writing. Abby brings her fashion and culture lens, then jumps into a playful “Beatles à la mode” tour of early looks, tailoring, and boots, connecting style to sound and attitude. You’ll hear how the hosts set the table with just enough songwriting and recording context to ground the chat, then pivot to impressions, performance choices, and why that opening hits like a headline. Come for the laughs, stay for the perspective shift. Abigail Devoe: https://www.youtube.com/@abigaildevoe Website: https://www.notebynoteseries.com Patreon: https://www.patreon.com/cw/NoteByNoteSeries Instagram: https://www.instagram.com/notebynoteseries Hosted on Acast. See acast.com/privacy for more information.

Nov 29

What happens when a Beatles song stares straight at the word “loser”? In this lecture, Kenyon takes the title seriously and follows the lyric to ask whether Lennon means simple heartbreak or a jab at his own image. Kenyon reads the verses closely, noting the high-school-diary metaphors, the mask that slips, and that striking question, “Is it for her or myself that I cry?” He highlights the sudden drop to a surprisingly low note as a storytelling move, then looks at the chorus as a plain confession that doubles as advice when the song turns to the listener at the end. Rather than technical analysis, Kenyon focuses on feel, pacing, and vocal shape, including how the arrangement hands the solo spotlight from harmonica to guitar to underline the mood. The episode places “I’m a Loser” inside Lennon’s early tug of war between pop polish and raw self-portrait, showing why this simple song hints at deeper honesty. Hosted on Acast. See acast.com/privacy for more information.

Nov 22

This week on our Beatles podcast, we bring on Skylar Moody and use “No Reply” to tell a bigger story. First, we map how new fans discover the band today, then tap Skylar’s front-row view of online fandom, the good, the bad, and the very human. We follow the song’s path from Tahiti spark to a confused “demo” on Anthology, weigh a theory about who kept time on that tape, and zoom into the finished track’s arrangement choices, overdubs, and piano accents. We place the opener on Beatles for Sale in context, ask what “deep cut” really means, and test that album’s “burnout” reputation against what we actually hear. Everyone goes out on a limb and gives a rating for their impression and close with a story about Tommy Quickly and the wider NEMS stable. No matter what you feel about the song, you're bound to find something interesting here. Skylar Moody: https://www.tiktok.com/@lucyinthesky.lar Website: https://www.notebynoteseries.com Patreon: https://www.patreon.com/cw/NoteByNoteSeries Instagram: https://www.instagram.com/notebynoteseries Hosted on Acast. See acast.com/privacy for more information.

Nov 22

Kenyon treats “No Reply” like a short film. He builds the scene from the lyric clues and follows how silence drives the story. He connects this song to Lennon’s earlier promises of easy connection, then shows how that promise collapses into absence here. He lingers on charged pivots like “I saw the light” and “I nearly died,” and questions whether the “another man” twist adds meaning or just color. On craft, Kenyon shows how the opening feels like it starts midair, how the phrasing sets up a question and then answers it, and how a small change in the pattern reframes the verse. He points out arrangement choices you can hear immediately, from Ringo’s rim clicks to doubled acoustics to Paul’s high line. He explains why the middle section feels fresh and how the ending leaves the ache intact, giving songwriters concrete ideas to lift. Hosted on Acast. See acast.com/privacy for more information.

Nov 15

We start the episode hilariously out of sync, then use “She’s a Woman” to find our groove again. Instead of reciting facts, we rebuild the track from the ground up: why the bass takes the driver’s seat, how those sharp guitar stabs act like percussion, and why the low piano line changes the feel. We zoom in on the tiny tag we both obsess over and show how the sudden shift there creates the exact jolt that keeps you replaying it. Then we step through how the session came together and what flipped a messy run into a locked final take. We compare UK and US release quirks, and we point you to a few covers worth your time without spoiling the surprises. We finish by putting real ratings on our impressions and explaining why. If you like hearing a song transform from “I think I know this” into “wait, that’s what’s happening,” this one’s for you. Website: https://www.notebynoteseries.com Patreon: https://www.patreon.com/cw/NoteByNoteSeries Instagram: https://www.instagram.com/notebynoteseries Hosted on Acast. See acast.com/privacy for more information.

Nov 15

In this Lecture Series deep dive, we pull “She’s a Woman” apart to find the craft hiding in plain sight. First, we scan the lyrics for structure, cadence, and sly wordplay, from the racy “turn me on” placement to unexpected internal rhymes and that clever enjambment that resolves a line one phrase later. Then we pivot to arrangement under a microscope: John’s relentless stabs on two and four, the rolling bass as the backbone, piano echoes of the vocal, and a stripped setup that spotlights the melody. You’ll hear how Paul vaults up, then snakes down, shaping a hook with big interval jumps and off-beat stresses. We map the harmony too, charting an A mixolydian canvas interrupted by a brief, color-splash middle eight that hints at Paul’s future key-play. We compare its DNA to “I Feel Fine,” trace the solo’s blues logic, and close by stress-testing that Little Richard-style outro. Tune in to re-hear the song with fresh ears. Hosted on Acast. See acast.com/privacy for more information.

Nov 8

This week we dive deep into one of the most pivotal records in early Beatles history, I Feel Fine. Kenyon and Peter, joined by musician Jon Blackstone, uncover the story behind the first intentional use of feedback in recorded music, tracing how a studio “mistake” became a defining Beatles innovation. The trio reconstruct the song’s evolution take by take, exploring how a simple riff turned into a landmark single and how Ringo’s rhythmic breakthrough helped shape its sound. Along the way, John shares his own history performing the song live, sparking a rich conversation about what makes it so deceptively difficult and endlessly fun. From technical breakdowns to cultural context, this episode captures that thrilling moment when the Beatles shifted from raw rockers to modern pop pioneers. Jon Blackstone: https://jonblackstone.com/ Website: https://www.notebynoteseries.com Patreon: https://www.patreon.com/cw/NoteByNoteSeries Instagram: https://www.instagram.com/notebynoteseries Hosted on Acast. See acast.com/privacy for more information.

Nov 8

In this lecture, Kenyon digs into “I Feel Fine” not as a chart-topping single, but as a turning point in Lennon’s songwriting and the band’s evolution in the studio. We unpack the way John’s neutral “I feel fine” lyric carries more weight than it first appears, how the melody crosses bar lines in subtle, surprising ways, and how the Beatles start to experiment with perspective in their storytelling. You’ll also hear how the band’s Latin-influenced drum pattern and riff-based arrangement reveal a whole new level of musical interplay. By the end, you’ll see why “I Feel Fine” is more than just an early example of feedback — it’s the sound of a band learning to speak a new musical language. Hosted on Acast. See acast.com/privacy for more information.

Nov 1

This episode steps outside the usual track-by-track format to explore The Beatles’ Story, Capitol Records’ 1964 double-LP “documentary” about the band. With historian Dr. Richard Driver, we look at how this release tried to define the Beatles for the American audience—mixing interviews, narration, and orchestral renditions with facts that were sometimes inaccurate. We trace the record’s place alongside other interview albums of the era, and how it fit into Capitol’s rush to issue product when a planned Hollywood Bowl live album fell through. The discussion reaches beyond the LP itself into questions of myth-making: how early biographies, liner notes, and media portrayals created an official story of the Beatles, and what was left out. Along the way, we connect these myths to later scholarship and even to Peter Jackson’s Get Back, asking what it means for fans and historians to keep retelling the Beatles’ story. Hosted on Acast. See acast.com/privacy for more information.

Oct 25

Peter and Gordon are back, and not just on the charts. This episode dives into “I Don’t Want to See You Again,” the third McCartney-penned single given to the duo. While it barely made a dent in the UK, it charted at #16 in the US and even got them a spot on Ed Sullivan. But how does the song hold up? Kenyon and Peter talk about how the song plays with breakup themes we usually hear from Lennon and why it may have confused people into thinking John wrote it. We also break down the strange classical solo in the middle (maybe oboes, maybe not) and how the production differs from what the Beatles were doing at the time. There’s also a bit of storytime about fan mania, odd American press tactics, and what Paul may have been trying to prove with these “work songs” he kept passing off to friends. Hosted on Acast. See acast.com/privacy for more information.

Oct 25

In this lecture we take a closer look at I Don’t Want to See You Again, a Paul McCartney composition performed by Peter and Gordon. Unlike Paul’s more optimistic breakup songs, this one flips the perspective. He’s not the one leaving, but the one being left behind. The lyrics trace that experience with a mix of disbelief, sorrow, and reflection, shifting from the immediate pain of rejection to the memory of hearing those words echoed long after. Musically, the song reveals some unusual choices. Its opening sonority sets a distinctive mood, while the arpeggiated melodic shapes tie it to other McCartney works given to Peter and Gordon. The rhythmic feel, punctuated by triplet figures and off-beat entries, gives it a subtle momentum, and the middle section plays with pentatonic patterns in a way that anticipates techniques Paul would return to with greater confidence later. Balanced and polished, the piece shows McCartney working within a conventional form yet finding inventive touches that hint at broader possibilities. Hosted on Acast. See acast.com/privacy for more information.

Oct 18

We step out of A Hard Day’s Night and into the Beatles’ songwriter-for-hire mode with “It’s for You,” written for Cilla Black. We trace why Cilla wasn’t a favor but a first-call vocalist in the NEMS orbit, how George Martin chose material for her, and why Paul aimed a new song at her after “Anyone Who Had a Heart.” We cover the 1964 session with Paul at the piano, John in the room offering ideas, and Cilla shaping the take. You’ll hear how the waltz feel, key moves, and that G vs E minor tug sit alongside familiar McCartney “DNA,” yet point away from the guitar-group box. We talk chart results in the UK and US, the brief Paul demo acetate that surfaced years later, and what the song demands from a singer. Hosted on Acast. See acast.com/privacy for more information.

Oct 18

Kenyon examines “It’s For You,” McCartney’s song tailored for Cilla Black’s cabaret lane. The talk explores how Paul steps into lounge tradition while keeping a youthful, pop viewpoint. The lyric voice dreams of a one-true-love future, creating a gentle tension between sophisticated stage polish and teenage fantasy. The focus lands on the middle eight: the recurring “they said love was a lie” idea, the witty internal rhymes, and the quick pivots in cadence. He shows how the refrain’s promise, “It’s for you,” reframes passivity into intention, and how the closing line “no one knows that I do” opens new readings, from secret crush to secret commitment. Along the way, the lecture maps echoes across McCartney’s giveaway catalog versus his Beatles work, highlighting a distinct vocabulary. Rhythm and form shifts are noted for how they refresh the narrative without showboating and phrasing. A compact, rigorous listen for anyone studying lyric architecture. Hosted on Acast. See acast.com/privacy for more information.

Oct 11

What happens when a Beatles song isn’t recorded by the Beatles? In this episode, Peter and Kenyon dive into From a Window, written by Paul McCartney and handed off to Billy J. Kramer. The duo plays musical detective, hunting for Beatles fingerprints in the arrangement, the melody, even the title itself. Along the way, they unpack Paul’s writing habits during the Asher era, the studio session that brought John and Paul into the room with Billy, and the performance quirks that make this recording feel a bit more distant than Lennon-McCartney’s usual output. There’s talk of Future Islands, old-fashioned dancing, and why some “songs they gave away” land better than others. As Kenyon argues for the craft and Peter remains slightly skeptical, the conversation becomes a thoughtful reflection on what makes a Beatles song truly feel like a Beatles song. Also, yes, there’s a microwave beef Wellington involved. Hosted on Acast. See acast.com/privacy for more information.

Oct 11

Here, the lecture unpacks Paul McCartney’s “From a Window,” written for Billy J. Kramer with the Dakotas, by tracing how its lyrics build a small nighttime drama. The framing image is a window: first as a place of sudden sighting, then as a rendezvous, and finally as the anchor of the song’s closing plea. The analysis weighs the charm of love-at-first-sight against a faint “creeper vibe,” noting how McCartney’s idealized promises (“I would be true”) reflect a broader Beatles pattern of writing to a standard they aspired to meet. Attention goes to craft choices that lift it beyond a stock work song: a genuinely new third verse rather than a repeat, a tight but slightly asymmetrical rhyme scheme, and a middle section that smartly repurposes earlier melodic ideas. The lecture also makes a few constructive critiques and sketches alternate phrasings, while situating the song alongside contemporary McCartney pieces to show where it feels traditional and where it hints at growth. Hosted on Acast. See acast.com/privacy for more information.

Oct 4

On this episode of The Beatles: Note by Note, we dive deep into “I’ll Be Back,” John Lennon’s haunting closer to A Hard Day’s Night. We’re joined by Robert Rodriguez (Something About the Beatles), who helps us explore not just the song’s unusual chord shifts and time signature experiments, but also its emotional core—how Lennon weaves between longing, resignation, and determination. We trace its musical DNA back to Del Shannon’s “Runaway,” unpack the ambiguity of its lyrics, and debate the choice to end the album with such a subdued, intricate piece instead of a raucous rocker. Along the way, we follow the Beatles through the chaotic second half of their 1964 world tour—eggs, jelly babies, balcony appearances, and all. Hosted on Acast. See acast.com/privacy for more information.

Oct 4

John Lennon closes A Hard Day’s Night with one of his most vulnerable works. In this lecture, we trace how I’ll Be Back uses a cycle of leaving and returning to reveal insecurity at the heart of its narrator. The repeated promise, “If you break my heart, I’ll go, but I’ll be back again,” sets the tone: fragile, conflicted, unable to walk away. Two contrasting bridges extend the story—one caught in the present moment of hurt, the other looking back on a failed attempt to provoke a reaction by leaving. The result is a song filled with tension, admission, and resignation. Vocal interplay, mirrored melodic gestures, and Harrison’s subtle guitar figures amplify the mood of exposure. What emerges is a Lennon portrait that feels strikingly intimate, a glimpse of self-doubt disguised within the polish of Beatles harmony and arrangement. Hosted on Acast. See acast.com/privacy for more information.

Sep 27

John Lennon’s "When I Get Home" pushes forward with urgency, both musically and lyrically. Special guest Jon Sunde joins us to talk about this Motown-inspired track. With harmonies doubled by Paul and George, a striking opening vocal line, and Lennon’s raw, compressed vocal delivery, the song cuts close to the energy of their live set. The session itself included a moment of confusion from 17-year-old tape operator Ken Scott, who misunderstood George Martin’s call of "When I Get Home". It took a scramble to line the tape back up before the band got the song down. Lyrically, it sways between urgency to reunite with a lover and the complexity of Lennon’s characteristic push-pull. It may not be the album’s most celebrated cut, but it captures the grit, humor, and restless drive of mid-1964 Beatles. Hosted on Acast. See acast.com/privacy for more information.

Sep 27

This lecture examines John Lennon’s “When I Get Home” as a study in lyrical focus and harmonic misdirection. We begin with the title premise: the narrator is away and eager to return, “with a whole lot of things to tell her.” The refrain functions ambiguously as either a true refrain or a tagged final line, mirroring the song’s tension between urgency and form. Lyrically, lines such as “no time for trivialities” place him on the last leg of the journey, pushing past press and distractions to reach home. The middle eight turns explicit and awkwardly charming with “hold her tight” and “love her till the cows come home,” before landing on the puzzling “I’ll bet I’ll love her more till I walk out that door again.” Musically, the lecture explores Lennon’s use of pentatonic riffing, sudden shifts that create a sense of unpredictability, and phrasing that feels almost tacked on yet grabs attention. These quirks highlight his willingness to bend structure in pursuit of immediacy and impact. Hosted on Acast. See acast.com/privacy for more information.

Sep 20

In this episode, we dive deep into “Things We Said Today,” Paul McCartney’s sophisticated, future-nostalgic gem from A Hard Day’s Night. Written during a Virgin Islands getaway with Jane Asher, the song captures the unusual trick of projecting into the future to look back on the present. We’re joined by special guest Rob Collier—music theorist, bassist, and the mind behind Beatles Bass Lines—who shares how a single TV moment with Paul inspired his lifelong Beatles obsession. Together, we explore the song’s recording sessions, from its A-minor backbone to its striking harmonic shifts, and the inventive use of a tea towel on Ringo’s snare. Along the way, we examine how the Beatles talked about music theory, intentionally or not, and how Paul’s chord choices hint at the sophistication still to come. It’s a journey through memory, musicianship, and the magical room “Things We Said Today” creates in just a few minutes. Hosted on Acast. See acast.com/privacy for more information.

Sep 20

This lecture explores Paul McCartney’s “Things We Said Today,” a song that begins as a tour-time love letter and evolves into a reflection on lasting companionship. The analysis traces how the lyrics shift from separation and longing to the image of a couple growing old together, with the phrase “not a lot to say” capturing that quiet permanence. The episode focuses on how contrasts between present and future shape the song’s message, how rhythmic choices add surprise, and how melodic details bring both tension and resolution. Listeners are guided through the qualities that make this track stand out and how it reveals the Beatles expanding beyond simple pop formulas into deeper, more enduring songwriting. Hosted on Acast. See acast.com/privacy for more information.

Sep 13

John Lennon’s sharp, country-tinged “I’ll Cry Instead” from A Hard Day’s Night packs more behind its brisk tempo than first meets the ear. We trace the song’s unusual recording. It was split into two sections for a planned film scene that never happened, and the sting of its rejection from the movie in favor of “Can’t Buy Me Love.” You’ll hear about Lennon’s doubled vocals, Ringo’s tambourine overdub, and the curious U.S. mono mix with an extra verse. We explore the Dylan-esque wordplay, flashes of bitterness, and the mix of bravado and vulnerability in Lennon’s lyrics. Plus, two standout contemporary covers show why this track marks an early step toward Lennon’s more mature, introspective songwriting. Hosted on Acast. See acast.com/privacy for more information.

Sep 13

I’ll Cry Instead turns on one small word: instead. The verses stake out a simple, driving premise: “I want to do X, but I can’t, so I’ll cry instead”. And every section reinforces that core. The middle eight shifts the lens: the speaker is ashamed of public sadness, hides away, then promises a future return, which recontextualizes the final verse from immediate reaction to deferred bravado. Lyrically, the song balances ambiguity (“have myself locked up” as jail, isolation, or breakdown), a Dylan-like hyperbole (“chip on my shoulder that’s bigger than my feet”), and flashes of vindictive posturing that raise thornier questions about attitude and tone. Musically, it sits in G with a “seesaw” backbone and country-flavored guitar motion, buoyant bass, tambourine texture, and Lennon’s signature minor-over-major inflections, even clashing against a C7 to prioritize melody. The bridge sequences motives, briefly feels D-centered, then pivots back before a clean, unfussy ending that suits a fast studio date. Hosted on Acast. See acast.com/privacy for more information.

Sep 6

What happens when a Beatles deep cut reveals more than you ever expected? In this episode, we dive into "Any Time At All"—a song John Lennon once called a rewrite of “It Won’t Be Long,” but that reveals itself to be something far deeper. We unravel the mystery of a scrapped middle eight, dissect lost verses from a rare lyric sheet, and uncover what may be Lennon’s first true “friendship” song—an empathetic anthem as intimate as it is explosive. From studio experiments to emotional authenticity, from fight songs to friendship, this track becomes a turning point in how The Beatles connect with their audience. Plus: piano capos, White Elephants, and our theory that John meant every single word. Whether you love A Hard Day’s Night or are just discovering its hidden corners, this is a revealing ride into Beatles songwriting at a pivotal moment. As always, we end with our honest impressions and a surprising rating. Hosted on Acast. See acast.com/privacy for more information.

Sep 6

In this lecture, we dive deep into John Lennon’s Any Time At All, one of the standout tracks from A Hard Day’s Night. While the lyrics appear simple—a declaration of friendship, comfort, and unconditional presence—closer analysis reveals how Lennon builds meaning through reinforcement and musical setting. We explore how the song begins with an attention-grabbing snare hit, how its verses balance descending bass lines against rising vocal lines, and how subtle counterpoint gives the track a sophistication often overlooked in pop music. Along the way, we examine Lennon’s use of dropped verses and a missing middle eight, and how Paul’s piano part and George’s guitar suspensions shape the arrangement. From the function of the refrain to the bluesy touches in the coda, this lecture unpacks the technical and emotional details that make Any Time At All more than just another early Beatles love song. Hosted on Acast. See acast.com/privacy for more information.

Aug 30

Was “Tell Me Why” just a filler track—or something deeper? On this week’s episode of The Beatles: Note for Note, we welcome special guest Lars (of the YouTube channel larsland) to unpack the vocal layers, gender dynamics, and unspoken angst of this under-discussed Lennon rocker. We dig into the harmonies, that strange falsetto bridge, and the song’s girl-group inspiration, then detour into a storytime on Dave Dexter Jr.—the Capitol Records exec who almost kept the Beatles out of America. It's part musicology, part media critique, and full Beatles nerd-dom. And yes, we rate the song. Hosted on Acast. See acast.com/privacy for more information.

Aug 30

John Lennon’s “Tell Me Why” might seem like just another early Beatles breakup song—but this lecture uncovers the subtle drama lurking beneath its simple exterior. We dig into the emotional confusion of a narrator who’s both wounded and desperate, shifting between accusation and apology. Is the crying real, or manipulative? Is the lie clear, or just rhyme filler? We also explore Lennon’s songwriting habits—like his fondness for the 13th—and how he repurposes melodic fragments, including what we’re now calling the “Tell Me Why boomerang.” From three-part harmonies to harmonic sleight-of-hand, this song may be slight, but its construction reveals more about John’s state of mind than he probably intended. Plus, we celebrate Ringo’s triplet rolls and that wild falsetto moment that feels like a spoof—or a stroke of brilliance. Hosted on Acast. See acast.com/privacy for more information.

Aug 23

Today, we’re turning the spotlight on the Beatles’ first intentional ballad—“And I Love Her.” With guest Gareth from They Came to a Land Down Under, we unpack the origins, cultural shifts, and musical innovations that make this Hard Day’s Night gem so mesmerizing. Gareth shares vivid stories of Beatlemania in Australia, including the wild tale of a Ringo lookalike at a press conference and the moment he first heard “A Hard Day’s Night” over his school’s loudspeakers to honor Lennon’s death. We trace how George Harrison’s Spanish guitar work shaped the song’s sonic identity, dig into Paul’s evolving songwriting voice, and debate the best Beatles recording so far. Plus, a rich storytime on Jane Asher—Paul’s muse and cultural gateway. There are Beatles firsts galore in this one. Nylon strings, modulations, middle eights… and maybe even the best Beatles ballad yet? Hosted on Acast. See acast.com/privacy for more information.

Aug 23

In this episode of the Lecture Series, Kenyon unpacks the quiet power and tonal ambiguity of Paul McCartney’s “And I Love Her.” He traces how even the song’s title hints at emotional complexity—why not just “I Love Her”? With lyrical imagery like “the kiss my lover brings,” Paul paints love as something distant, mysterious, even cosmic. Kenyon highlights the unusual harmony and modal drift that blur the line between C♯ minor and E major, calling into question where the tonal center really lies. He explores George’s classical guitar solo, a pastiche of glissandos, pull-offs, and triplets, and argues that the surprise modulation into a completely foreign key at the end of the song mirrors the feeling of getting lost in space—an echo of the song’s emotional ambiguity. With Paul in full romantic mode, this track still carries a sense of unresolved tension beneath the surface. Hosted on Acast. See acast.com/privacy for more information.

Aug 16

George double-tracked his vocal “to perfection,” and the rest is Beatles history—maybe. In this episode, Kenyon and Peter are joined by special guest Nancy from Vinyl Friday for a full-bodied takedown (and celebration) of I’m Happy Just to Dance with You. They tackle why John and Paul dismissed the song as “formula,” why it might be way deeper than anyone admits, and why George’s vocals deserve a standing ovation. Along the way, they dig into danceable rhythms, surprising chord changes, and the early signs of each Beatle’s musical maturation. Nancy drops a “Beatles First” on George’s film debut, Peter defends romantic innocence, and Kenyon unveils the tragic, boozy tale of Alf Lennon dancing with a mannequin. If you ever wrote off this song, this episode might just change your mind. Hosted on Acast. See acast.com/privacy for more information.

Aug 16

In this episode of the Beatles Lecture Series, Kenyon dives deep into the oft-overlooked “I’m Happy Just to Dance with You,” written by John Lennon and sung by George. While John dismissed it as a “work song,” this lecture uncovers its quiet brilliance. Kenyon explores how the lyrics—simple on the surface—suggest deeper implications about love, sufficiency, and emotional restraint. From a music theory angle, the episode highlights the song’s unusual tonal movement between E major and C♯ minor, inventive use of plagal cadences, and melodic development that disguises repetition with elegance. Kenyon also draws comparisons to “Do You Want to Know a Secret” and finds echoes of Disney scores and jazz solos. It’s a playful, intricate tune that reveals the Beatles’ evolving harmonic language—and perhaps John’s own ambivalence about pop craft. A must-listen for fans of Beatles deep cuts and songwriting analysis. Hosted on Acast. See acast.com/privacy for more information.

Aug 9

In this episode of Note by Note, we unravel the layered vulnerability of If I Fell, a Lennon ballad that holds more than meets the ear. Kenyon, Peter, and Justin explore its striking intro—modulating from D♭ to D major—and how the tonal ambiguity sets the stage for a love song laced with self-doubt. They discuss the sincerity and irony woven into the lyrics, questioning whether John is making a true romantic plea or mocking the very sentiment. The trio also breaks down the vocal blend between John and Paul, focusing on the small imperfections that make the harmony feel human. There’s humor too—especially in the discussion of the shaky middle-eight and Paul’s comedic smirk in live footage. But at the heart of it is a Lennon song trying to sound confident, while quietly asking not to be hurt again. Hosted on Acast. See acast.com/privacy for more information.

Aug 9

John Lennon’s “If I Fell” may sound like a tender ballad, but dig a little deeper and you’ll find a song loaded with ambiguity and emotional risk. In this lecture, Kenyon explores the idea that it’s not just a rebound love song, but a veiled confession of infidelity—highlighting the mysterious “her” mentioned throughout. We also dive into the harmonic sophistication of the intro, its Broadway-style chromaticism, and how the song’s structure toys with expectations. There’s a close look at the shifting roles of melody and harmony between John and Paul, and a breakdown of the advanced musical devices hidden in this deceptively simple tune. As always, it’s a blend of historical insight, music theory, and lyrical interpretation—designed to deepen your appreciation for one of Lennon’s most quietly complex early works. Hosted on Acast. See acast.com/privacy for more information.

Aug 2

Before Help! and long before Norwegian Wood, there was I Should Have Known Better—John Lennon’s first brush with Bob Dylan-style introspection. In this episode, Kenyon and Peter explore the song’s pivotal place in Lennon’s evolution, tracing how a three-week binge on Freewheelin’ in Paris unlocked a new songwriting voice. From harmonica gags and studio laughs to the delicate blues turn in the bridge, the track reveals Lennon’s tentative first steps toward depth and realism. You’ll also hear about harmonica edits, stereo mix blunders, Beach Boys covers, and George’s girlfriend timeline—from childhood crush to Pattie Boyd. If you’ve ever overlooked this mid-album gem, let us convince you otherwise. Hosted on Acast. See acast.com/privacy for more information.

Aug 2

At first glance, “I Should Have Known Better” seems like a standard early Beatles love song. But in this lecture, we uncover a deeper emotional arc beneath its simple title. Is John Lennon reflecting on love, or quietly regretting it? We analyze the song’s evolving lyrical perspective—from naive infatuation to possible disillusionment—and trace how Lennon builds that narrative through harmonic pacing, key modulation, and melodic delay. Musically, we examine the folk-inflected harmonica, the pivot from G to E minor, and John’s signature use of the fifth degree in melody. You'll learn about his “boomerang gesture,” an expressive melodic trick that adds depth to the song’s phrasing, and explore one of Lennon’s most emotionally compelling middle eights. With its delicate outro and shifting tonal center, this song proves more complex than it seems—and a revealing case study in how John stretched the Beatles' pop vocabulary into something more introspective. Hosted on Acast. See acast.com/privacy for more information.

Jul 26

In this packed episode of The Beatles: Note by Note, Kenyon, Peter, and Justin dive deep into the song “A Hard Day’s Night.” They unravel the song's hectic creation on April 13, 1964, when Lennon famously wrote it overnight, transferring lyrics from a matchbox to the back of his son's birthday card. The trio dissects the instantly iconic opening chord, recreates its harmonic layers live on the podcast, and credits journalist Maureen Cleave for influencing the final lyric: “I find the things that you do will make me feel all right.” You'll also hear how director Richard Lester pressured the band to “play more cinematically” and how George Martin used a tack piano known as the “Mrs. Mills piano” to create that unforgettable solo. With personal stories, technical breakdowns, and musical humor, this is your all-access pass to the origin of one of the Beatles’ most explosive tracks. Hosted on Acast. See acast.com/privacy for more information.

Jul 26

John Lennon had a problem: how do you write a love song called “A Hard Day’s Night”? In this lecture, we analyze how he solved it—lyrically and harmonically—using idioms, tonal ambiguity, and jazzy fourths to disguise a fairly conventional romantic setup. We unpack the grammar of the title, trace Lennon’s melodic habits, and spotlight the song’s most daring chord substitutions. You’ll hear why the bridge sounds like a different songwriter entirely, and how the intro chord helped define rock harmony for decades. With comparisons to “Can’t Buy Me Love” and “I Saw Her Standing There,” this lecture explores how the Beatles used arrangement, form, and tension to shape the emotional impact of their biggest early single. Whether you’re interested in music theory or songwriting craft, this is a deep dive into one of the band’s most sophisticated pop constructions. Hosted on Acast. See acast.com/privacy for more information.

Jul 19

A Hard Day’s Night wasn’t just the Beatles’ first film—it was a cinematic reset button for the music movie. In this episode, Peter, Kenyon and special guest Stephen explore how Richard Lester’s direction, Alun Owen’s script, and the band’s own instincts combined to create a kinetic, irreverent, and deeply influential piece of pop art. From surreal cutaways to handheld camera work, the film captured the chaos of Beatlemania while also mythologizing it. We examine how it introduced character tropes still associated with the Beatles today (Paul’s “clean” image, Ringo’s melancholy, George’s sarcasm), and how its style shaped everything from Help! to Spinal Tap. We also look at how United Artists’ commercial motives accidentally led to something timeless—and how the Beatles, often underplayed as actors, bring the script to life through pure charm and rhythm. A Hard Day’s Night may be rooted in 1964, but it still feels modern. Hosted on Acast. See acast.com/privacy for more information.

Jul 12

Originally a Carl Perkins B-side, Matchbox became a showcase for Ringo Starr during the Beatles’ whirlwind studio sessions of mid-1964. In this episode, we explore why Ringo was chosen to sing this rockabilly relic, how it fits within the band’s American roots influences, and the peculiar circumstances surrounding its recording. With George Harrison on lead guitar and producer George Martin himself playing piano, the session was slapped together in between tour rehearsals and studio catch-up. Ringo’s vocal is energetic but limited, and the track’s historical significance often outweighs its musical punch. We also discuss the broader role of “Ringo songs” during this period and how Matchbox helped solidify his image as the affable, everyman Beatle—even when the material was beneath the band’s usual standards. It’s a minor track, but a meaningful glimpse into the Beatles’ live-driven momentum in 1964. Hosted on Acast. See acast.com/privacy for more information.

Jul 5

“Slow Down” might be credited to The Beatles, but this cover of a Larry Williams B-side reveals more about the band’s limitations than their strengths. In this episode, we take a close listen to John Lennon’s vocal delivery—raw, impassioned, and unsteady—and question how this track ended up released at all. We explore the hurried recording process, George Martin’s unusually hands-off approach, and the unflattering final mix that left Lennon audibly straining to keep up with the tempo. It’s not just a technical mess—it’s a philosophical one too, raising questions about artistic control, band fatigue, and the group’s growing pains in 1964. Still, the track serves as an authentic moment in Beatles history. “Slow Down” captures the chaos of their rise and the human edge of Lennon’s rock-and-roll obsession. It’s imperfect, but telling—and we’re here for the story behind it. Hosted on Acast. See acast.com/privacy for more information.

Jun 29

Before The Beatles were a household name, before “Love Me Do,” there was Like Dreamers Do—a teenage composition by Paul McCartney that became one of their earliest calling cards. In this episode, we explore the song’s unusual journey through the Decca audition and into the EMI offices, where it played a quiet but crucial role in landing the Beatles their deal with Parlophone. We also look at the overlooked role of George Martin—not just as a producer, but as a man navigating a personal crisis. His affair with secretary Judy Lockhart Smith and his tense position at Parlophone intersected with the band’s arrival in surprising ways. Through early demos, context from the Merseybeat scene, and a discussion about Paul’s songwriting at the time, we trace how Like Dreamers Do helped turn possibility into destiny—even if the band never officially released it during their prime. Hosted on Acast. See acast.com/privacy for more information.

Jun 29

In this lecture, we dive into Paul McCartney’s early composition Like Dreamers Do, exploring its melodic construction, lyrical themes, and musical architecture as performed by the Applejacks. The song unfolds a romantic narrative of longing and fulfillment, using circular, self-referential pronouns and repeating motifs to reflect the dreamlike anticipation of meeting “the girl in my dreams.” We analyze how McCartney’s phrase structures play with identity and immersion, creating patterns that anchor the listener in the song’s emotional arc. Melodically, the track expands outward before returning home, breaking conventions found in Paul’s other early works. Harmonically, the lecture examines deceptive cadences, modal shifts, and Paul’s preference for show-tune-style II–V–I progressions over typical rock clichés. We also discuss form and rhythmic texture, including the Beatles’ signature use of syncopated “3-3-2” phrasing. This song may be structurally flawed, but it showcases Paul’s early genius—and offers rich insights for aspiring songwriters. Hosted on Acast. See acast.com/privacy for more information.

Jun 22

Join hosts Peter and Kenyon for an in-depth look at “Nobody I Know,” the follow-up to Peter and Gordon’s breakout hit “A World Without Love.” Written by Paul McCartney specifically for Peter Asher, this track offers a glimpse into Paul’s early experiments in songwriting for others — and perhaps ghostwriting altogether. We explore the class dynamics behind Peter and Gordon’s image, dissect the Tin Pan Alley and Baroque pop stylings of the track, and debate whether this song could have ever been a Beatles tune. Plus: how this track fits into the broader cultural moment of Swinging London and what it tells us about Paul’s creative influences at the time. Hosted on Acast. See acast.com/privacy for more information.

Jun 22

In this Beatles Lecture Series episode, Kenyon offers a critical musicological analysis of “Nobody I Know,” written by Paul McCartney and performed by Peter and Gordon. Though it charted in 1964, the song is marked by lyrical vagueness, structural flatness, and harmonic awkwardness. Kenyon unpacks the song’s root–seventh melodic motif, a classical-sounding line reminiscent of Für Elise, and how its rhythmic monotony undercuts its emotional impact. Special attention is given to the song’s middle eight, which offers rare harmonic relief and syncopation. The analysis touches on the use of flat VII chords as functional substitutes, parallel octaves, and why the modulation to C♯—while bold—fails to mask deeper melodic issues. Though the song gestures toward romantic timelessness, its lack of thematic development and musical tension leave it sounding more like a “work song” than a finished piece. Kenyon argues it’s a curious outlier, offering insight into McCartney’s songwriting evolution. Hosted on Acast. See acast.com/privacy for more information.

Jun 15

In this episode, Peter and Kenyon dive deep into one of the most obscure Lennon-McCartney tracks: “One and One Is Two.” Originally written for Billy J. Kramer, the song was ultimately passed down a surprising chain—from the Fourmost to a forgotten band known as The Strangers with Mike Shannon, who recorded the only released version. But who were they? Through sharp storytelling and meticulous research, the hosts uncover a fascinating tale that stretches from Liverpool to Rhodesia (now Zimbabwe), shedding light on a mysterious group and the unlikely journey of a discarded Beatles composition. They also explore the upcoming Beatles biopics, Paul McCartney’s demo magic, and the role of early Beatles photographer Dezo Hoffman. As always, expect a blend of music theory, Beatles lore, and unexpected history lessons in this affectionate look at a song almost lost to time. Hosted on Acast. See acast.com/privacy for more information.

Jun 15

Welcome to the Beatles Lecture Series, where Kenyon unpacks the hidden layers of even the most overlooked entries in the Lennon–McCartney catalog. In this episode, we explore “One and One is Two,” a discarded McCartney composition ultimately recorded by The Strangers with Mike Shannon. Kenyon examines the lyrical inconsistency, the unrequited-love theme, and the rushed nature of its composition—all signs of a quick commission for Billy J. Kramer. From a harmonic perspective, the lecture focuses on pentatonic phrasing, modal contrasts, and Paul’s surprising use of C minor7 over expected major chords. The result? A charming yet structurally flimsy tune that works better as a jingle than a full-fledged song. Kenyon also draws comparisons to other early Beatles material and argues that Paul’s demo version hints at stronger musical instincts than the final release suggests. Ideal for songwriters and theory buffs alike, this episode highlights how even a “bad Beatles song” can reveal creative insights Hosted on Acast. See acast.com/privacy for more information.

Jun 8

The Beatles may have written hits by the dozen, but when it came to raw vocal power, they turned to “Long Tall Sally.” In this episode, Peter and Kenyon examine how Paul McCartney tackled Little Richard’s blistering classic and made it his own. From the song’s gospel-tinged triplets to McCartney’s throat-shredding vocal performance, this cover became a defining moment in Beatles live sets—often saved for their explosive finales. The hosts explore the band’s deep reverence for American R&B, the subtle modifications they made to the original arrangement, and how the recording captured their ability to walk the line between homage and transformation. With a spotlight on the blistering guitar solo, relentless tempo, and the song’s pivotal role in the Beatles’ stagecraft, this episode unpacks what made “Long Tall Sally” one of their most electrifying—and enduring—covers. Hosted on Acast. See acast.com/privacy for more information.

Jun 1

The Beatles wrote dozens of love songs—but “You Can’t Do That” is all jealousy, threat, and menace. In this episode, Peter and Kenyon unpack John Lennon’s ferocious 1964 track, a surprisingly harsh B-side to the exuberant “Can’t Buy Me Love.” The hosts explore how Lennon channels emotional volatility through biting lyrics, raw vocal delivery, and a snarling lead guitar part that George Harrison devised with a newly acquired Rickenbacker 12-string. They delve into the song’s modal blues influences, subtle key ambiguities, and its use of stop-time syncopation in the verses—a rhythmic tension that mirrors the song’s lyrical unease. The conversation also touches on the song’s live arrangements, early mixes, and the moment when Paul’s high harmony nearly outshines the lead vocal. “You Can’t Do That” may not be a Beatles chart-topper, but in this episode, it gets the spotlight as one of their most emotionally charged early recordings. Hosted on Acast. See acast.com/privacy for more information.

Jun 1

This lecture examines “You Can’t Do That” as an early exemplar of John Lennon’s emotionally unvarnished songwriting. Kenyon dissects how the track pushes against the pop conventions of 1964, both musically and lyrically. Built on a blues framework yet rich in modal ambiguity, the song contrasts a driving, almost brutal rhythmic groove with harmonic suspensions and key flirtations that mirror the instability in its lyrics. Lennon’s vocal delivery is sharp-edged and unrepentant, revealing a narrator caught in the grip of possessiveness and social anxiety. Kenyon also considers the instrumental architecture—George Harrison’s biting 12-string Rickenbacker lead, Ringo Starr’s accented snare pattern, and Paul McCartney’s harmony line that teeters between support and challenge. The lecture frames “You Can’t Do That” not simply as a B-side to “Can’t Buy Me Love,” but as a turning point in Lennon’s expressive range and the band’s willingness to explore darker emotional registers within the format of pop songwriting. Hosted on Acast. See acast.com/privacy for more information.

May 24

It sold 2 million copies in a day and knocked America off its feet—but was “Can’t Buy Me Love” the beginning of the end for the Beatles’ greatest songwriting era? In this episode, Peter and Kenyon dissect the band’s first true solo-credited hit, where Paul McCartney goes it alone vocally and compositionally, breaking the “eyeball to eyeball” method that had defined Lennon-McCartney’s early work. The duo explores the track’s Paris hotel origins, its 12-bar blues structure, and George Martin’s now-iconic chorus-as-intro innovation. They also cover George Harrison’s first truly great solo, Geoff Emerick’s surprise engineering debut, and the stereo hi-hat overdub secretly performed by producer Norman Smith. From Ella Fitzgerald’s same-year cover to the infamous Paris residency that birthed the song, this episode unpacks both the musical brilliance and behind-the-scenes tension of a record that signaled a changing tide in the Beatles’ dynamic—and history. Hosted on Acast. See acast.com/privacy for more information.

May 24

In this lecture, Kenyon examines Paul McCartney’s “Can’t Buy Me Love,” a pivotal track in the Beatles’ early catalog that bridges 12-bar blues tradition with modern pop innovation. Written in Paris and released as a single before appearing on A Hard Day’s Night, the song is often remembered for its hook, but Kenyon’s analysis reveals deeper structural and harmonic nuance. The lecture explores the song’s lyrical progression, which subtly reframes materialism into a broader reflection on emotional values. Kenyon unpacks the use of syncopation, plagal cadences, and a carefully executed turnaround that alters the expected blues form. He also dissects George Martin’s reharmonization of the chorus to create the song’s intro and outro, and highlights George Harrison’s compact, memorable solo as a turning point in Beatles guitar work. With its fusion of blues, show-tune harmony, and rhythmic inventiveness, “Can’t Buy Me Love” emerges as a deceptively complex exemplar of early Lennon-McCartney songwriting craft. Hosted on Acast. See acast.com/privacy for more information.

May 18

What happens when a teenage Paul McCartney writes a song so sentimental that even John Lennon rolls his eyes? In this episode, Peter and Kenyon explore “A World Without Love,” a track McCartney penned at just 16 and later gave to his girlfriend Jane Asher’s brother, Peter, for his duo Peter and Gordon. The hosts break down the song’s swooning lyrics, lush harmonies, and the famously rejected opening line, “Please lock me away,” which Lennon reportedly found too corny for the Beatles’ image. They also discuss how the song, recorded in five takes at EMI Studios, became the first non-NEMS track to top the U.S. and U.K. charts—a feat no other Beatles giveaway ever matched. From its unusual chord changes to its role in the British Invasion, this episode tells the story of a track that captured the world’s imagination, even without the Beatles’ name on the label. Hosted on Acast. See acast.com/privacy for more information.

May 18

In this lecture, Kenyon explores “A World Without Love,” a Paul McCartney composition that became a chart-topping hit for Peter and Gordon in 1964. Written when McCartney was just 16, the song reflects his early fascination with grand, romantic gestures, yet reveals hints of deeper themes. Kenyon examines the song’s unusual opening line, “Please lock me away,” which John Lennon reportedly rejected as too sentimental, and considers the possible influence of the Asher family on McCartney’s lyrical imagery, including references to isolation and introspection. The lecture also breaks down the song’s harmonic structure, with its surprising use of non-diatonic chords, suspended resolutions, and shifting modal patterns that reflect McCartney’s evolving compositional style. By analyzing the song’s form, melodic phrasing, and metaphorical language, Kenyon demonstrates how “A World Without Love” serves as a fascinating case study in McCartney’s early songwriting, capturing both youthful innocence and emotional complexity. Hosted on Acast. See acast.com/privacy for more information.

May 10

What do the Beatles and classic doo-wop have in common? More than you might think. “This Boy” finds the Beatles experimenting with close harmonies, complex chord changes, and emotional storytelling in a way that set them apart from their early rock and roll contemporaries. In this episode, Peter and Kenyon break down how John Lennon’s Smokey Robinson-inspired melody blends seamlessly with the band’s distinctive vocal blend, drawing on influences from The Teddy Bears and Bobby Freeman. They also explore the song’s unconventional middle eight, where Lennon’s dramatic chord progression and soaring vocal line transform a simple ballad into something far more intricate. From Ringo’s comic book reading during recording sessions to the song’s unlikely connection to a James Bond guitarist, this episode reveals the hidden layers behind one of the Beatles’ most overlooked B-sides. Hosted on Acast. See acast.com/privacy for more information.

May 10

In this lecture, Kenyon explores “This Boy,” one of the Beatles’ earliest attempts at doo-wop-inspired songwriting. The session examines the track’s compound 12/8 meter, close vocal harmonies, and unusual pronoun construction, where Lennon opts for the ambiguous “this boy” instead of the more direct “I” or “me.” Kenyon breaks down the song’s harmonic structure, focusing on its use of appoggiaturas, minor-key resolutions, and the signature D-Bm-Em-A7 progression that anchors the verses. The lecture also highlights the intricate vocal layering, with George’s internal melody and Paul’s soaring high harmonies creating a tightly woven choral texture. Special attention is given to the middle eight, where the Beatles break from their usual rock formula with a series of unexpected chord shifts, lending the song a sense of longing and unresolved tension. This lecture provides a deep dive into one of the Beatles’ most harmonically ambitious early compositions. Hosted on Acast. See acast.com/privacy for more information.

May 4

What happens when a single song conquers two continents at once? “I Want to Hold Your Hand” wasn’t just a hit—it was the ignition switch for Beatlemania in America. In this episode, Peter and Kenyon break down the Beatles’ biggest early gamble: a song written specifically to win over U.S. audiences, composed “eyeball to eyeball” in the basement of Jane Asher’s house. They unpack the song’s explosive chord change, its international recording sessions, and the moment a teenage girl and a rogue DJ sparked a revolution by airing it early in Washington, D.C. You’ll also hear about the Beatles’ tension with their music publisher, Paul McCartney’s take-no-prisoners attitude in the studio, and how a phrase as simple as “I can’t hide” got misheard, mimicked, and mythologized. With 5 million U.S. sales and a continent-altering TV debut, this episode tells the story of a song that changed everything. Hosted on Acast. See acast.com/privacy for more information.

May 4

In this lecture, Kenyon offers a comprehensive analysis of “I Want to Hold Your Hand,” a track often celebrated for its cultural impact but rarely studied for its structural depth. Far from merely a straightforward pop song, Kenyon argues that its emotional resonance stems from a carefully balanced interplay between action and sentiment, mirrored in both its lyrics and harmonic choices. The lecture examines how Lennon and McCartney use alternating couplets to create tension between directness and vulnerability, supported by a harmonic pattern that moves fluidly between major and minor tonalities. Kenyon highlights the song’s use of the "two-bridge" form, deceptive cadences, plagal resolutions, and Paul McCartney’s rhythmic double-stop bass work. Special attention is given to the song’s harmonic ambiguity—especially in the B minor vs. B7 debate—and to George’s understated arpeggios buried in the mix. This session reframes “I Want to Hold Your Hand” as a masterclass in pop composition and emotional architecture. Hosted on Acast. See acast.com/privacy for more information.

Apr 26

How did one of the roughest, hardest-rocking Beatles performances come from a $800 loan in Detroit? In this episode, Peter and Kenyon dive into “Money (That’s What I Want),” tracing its wild origins at the dawn of Motown through Barrett Strong’s legendary first recording. They explore how the Beatles discovered this deep cut and transformed it into a ferocious album closer for With the Beatles, powered by John Lennon’s raw vocals, Ringo’s pounding toms, and George Martin’s driving piano. Along the way, they uncover tales of lost songwriting credits, apocryphal high school musicians, and chaotic recording sessions that left their mark on both Motown and Merseybeat. Plus, Peter and Kenyon unpack the track’s lasting influence—from early punk energy to John’s conflicted attitude toward fame and fortune. This isn’t just a Beatles cover—it’s a full-circle moment linking American soul to British rock. Hosted on Acast. See acast.com/privacy for more information.

Apr 20

What do Mahler, Stephen King, and John Lennon’s “Not a Second Time” have in common? More than you’d think. In this episode, Peter and Kenyon dig into one of the Beatles’ most misunderstood songs—praised by London Times critic William Mann for its so-called “Aeolian cadence,” a term Lennon would later call “exotic birds.” The hosts dissect the track’s odd structure, haunting piano solo, and emotionally unstable chord progressions, exploring why it stands apart on With the Beatles. From the lack of George Harrison’s guitar to the unusual melodic phrasing and brooding lyrics, “Not a Second Time” feels less like a Beatles song and more like a musical outburst. They also discuss the track’s cultural afterlife—including its cameo in a Stephen King book. Was Lennon aiming for Motown, Mahler, or something uniquely his own? This episode uncovers the messy brilliance buried in a song even the Beatles seemed unsure about. Hosted on Acast. See acast.com/privacy for more information.

Apr 20

In this lecture, Kenyon offers a critical and introspective analysis of “Not a Second Time,” a John Lennon composition from With the Beatles that has baffled fans, critics, and even the band themselves. Often cited as one of Lennon’s weakest early efforts, the song nonetheless presents a unique opportunity for study. Kenyon examines the track’s fragmented melodic development, harmonic aimlessness, and the infamous “Aeolian cadence” praised by The Times critic William Mann—an observation Lennon would later mock. The lecture explores the song’s disjointed middle eight, unresolved cadences, and jarring phrase structures, asking how such an unfocused piece ended up on a Beatles album. Yet, Kenyon argues that even flawed material can reveal much about the songwriting process. Through this lens, “Not a Second Time” becomes a case study in unrealized potential, artistic intuition, and the value of editorial rigor within collaborative composition. A must-listen for those interested in artistic misfires and how they inform musical growth. Hosted on Acast. See acast.com/privacy for more information.

Apr 13

How did one forgotten girl group from a Detroit suburb end up shaping one of the eeriest Beatles covers? In this episode, Peter and Kenyon uncover the story behind “Devil in Her Heart,” originally recorded as “Devil in His Heart” by the Donays—high schoolers who released only one single before disbanding. The Beatles discovered the track through Brian Epstein’s record shop and transformed it into a haunting George Harrison-led performance. The hosts break down the Beatles’ faithful arrangement, George’s call-and-response vocal dynamics, and how the track reflects the album’s larger theme of light and shadow. They also compare the Beatles’ version with the Donays’ original, arguing the latter may even surpass the Fab Four in raw emotional power. With its dark harmonies, subtle rhythmic tricks, and eerie atmosphere, “Devil in Her Heart” reveals just how deep the Beatles dug to find hidden gems—and how those gems sometimes outshined the band themselves. Hosted on Acast. See acast.com/privacy for more information.

Apr 6

Could the Beatles really match Smokey Robinson? That’s the challenge they set for themselves with “You Really Got a Hold on Me”—and, incredibly, they just might have pulled it off. In this episode, Peter and Kenyon break down one of the most vocally demanding songs the Beatles ever attempted to cover. Originally a B-side by the Miracles, the track became a soulful highlight of With the Beatles, driven by John Lennon’s searing vocal, George Harrison’s raunchy guitar bends, and subtle backing from George Martin on piano. The hosts explore how the Beatles' version holds its own against the Motown original—reproducing its emotional power while layering in their trademark vocal blend and tight studio polish. From failed intros to overdub edits and a shelved four-track remake, they unpack every twist in the Beatles’ journey to get this one right. This isn’t just a cover—it’s a statement of intent. Hosted on Acast. See acast.com/privacy for more information.

Mar 30

Was “Hold Me Tight” really the Beatles’ weakest link—or a hidden pivot point in their early sound? Peter and Kenyon dig into this overlooked track from With the Beatles, a song Paul McCartney began writing at age 18 and one that even John and Paul would later dismiss. But beneath its shaky reputation lies a revealing story: failed takes, scrapped sessions, and a frenzied remake that may have included the first-ever Beatles tape-speed manipulation. The hosts dissect Paul’s layered vocal performance, Ringo’s tom-heavy middle eight, and the call-and-response vocals that echo girl group influence and skiffle roots. They trace how “Hold Me Tight” bridges the Beatles’ early rock 'n' roll emulation with a more nuanced, emotionally layered sound—one hinting at their evolving ambition. Is it filler, or is it a case study in transition? This episode offers a surprisingly deep dive into one of the band’s most misunderstood recordings. Hosted on Acast. See acast.com/privacy for more information.

Mar 30

In this lecture, Kenyon unpacks Paul McCartney’s “Hold Me Tight,” a deceptively simple track from With the Beatles that reveals deeper structural and harmonic complexity on close inspection. Though the song was often dismissed by its creators, Kenyon explores how its repeated ostinato patterns, major-minor tension, and chromatic middle eight create an unsettled, almost adolescent emotional landscape. The lecture analyzes the use of anti-phrasing, call-and-response, and tonal ambiguity—particularly the unexpected shift to A-flat major in the middle eight, a jarring move that foreshadows later Beatles experimentation. Kenyon also questions the song’s rhythmic phrasing, noting its disorienting seven-bar structure and off-kilter cadences, which mirror the lyrical uncertainty and emotional immaturity at the song’s core. Far from being a throwaway, “Hold Me Tight” serves as a window into the Beatles’ transitional period, where conventional love-song tropes meet increasingly adventurous musical instincts. Hosted on Acast. See acast.com/privacy for more information.

Mar 22

What happens when the Beatles take a Chuck Berry anthem and make it their own? In this episode, Peter and Kenyon dive into “Roll Over Beethoven,” a song they’d been playing since their earliest club days. Originally sung by John, the band handed vocal duties to George Harrison—an inspired choice that gave the track a youthful punch and raw authenticity. The hosts explore George’s biting vocal, slashing guitar tone, and how the Beatles’ version, recorded in just five takes, adds a muscular polish to Berry’s blueprint. They discuss the track’s place in the album With the Beatles and how George Martin halted Capitol Records from releasing it as a 1964 single. From live performance innovations to misheard lyrics and the infamous jelly bean attacks, this episode unpacks how “Roll Over Beethoven” became an early showcase of the Beatles’ roots, energy, and sheer charisma. Hosted on Acast. See acast.com/privacy for more information.

Mar 17

What happens when the Beatles take a Motown classic and make it their own? Please Mr. Postman was already a #1 hit for the Marvelettes, but John Lennon’s urgent, near-desperate vocal delivery transforms it into something raw and electrifying. In this episode, Peter and Kenyon explore how the Beatles' version differs from the original, from its tighter rhythm section to its heightened emotional intensity. The hosts discuss why this was the final girl-group cover the Beatles ever recorded and how their choice to include it reflected their deep admiration for American R&B. They also examine the recording session, highlighting the Beatles' decision to rework their live arrangement mid-session to better match the Marvelettes’ dynamic intro. Was this just a well-executed cover or something more? Join Peter and Kenyon as they break down Please Mister Postman and uncover why the Beatles’ version remains a fan favorite. Hosted on Acast. See acast.com/privacy for more information.

Mar 9

Could Till There Was You be the Beatles’ most unexpected choice for their early setlists? A show tune from The Music Man, it stood out in their catalog—earning both praise and skepticism from fans and even John Lennon himself. In this episode, Peter and Kenyon explore how Paul McCartney discovered the song through Peggy Lee’s jazz-infused version and why he insisted on including it in their performances. The hosts break down George Harrison’s intricate classical-inspired guitar work, Paul’s refined vocal delivery, and the song’s pivotal role in impressing George Martin at the Beatles' Decca audition. They also discuss how Brian Epstein strategically used Till There Was You to showcase the band’s versatility in high-profile performances, including the Royal Command Performance. A rare moment of theatrical elegance in the Beatles’ early years, this episode unpacks how the song helped shape their career and their ability to transcend genres. Hosted on Acast. See acast.com/privacy for more information.

Mar 2

Was "Little Child" ever meant to be sung by John Lennon? Originally intended as a showcase for Ringo Starr, the song took a different path when it proved a poor fit for his vocal range. In this episode, Peter and Kenyon explore how Lennon and McCartney crafted this high-energy track for With the Beatles, blending pounding piano, relentless harmonica, and a melody pulled from an unexpected Disney film. The hosts dive into the song’s chaotic recording process, which spanned multiple sessions and overdubs—unusual for the Beatles at the time. They also examine why Little Child feels unlike a typical Beatles track, from its bluesy aggression to its raw, almost punk-like intensity. Is it a hidden gem or just a throwaway rock and roll workout? Peter and Kenyon break down this frenetic, often-overlooked track, uncovering its unexpected influences and its place in the Beatles’ evolving sound. Hosted on Acast. See acast.com/privacy for more information.

Mar 2

In this lecture, Kenyon analyzes Little Child, a track from With the Beatles that began as a rejected Ringo Starr vocal before becoming one of the album’s most relentless rockers. Despite its simplicity, the song presents intriguing rhythmic and harmonic elements that set it apart from other early Beatles compositions. Kenyon examines its insistent triplet phrasing, harmonica-driven texture, and its lack of conventional song structure, leading to a sense of musical monotony that contrasts with the Beatles' usual dynamic approach. The lecture explores the peculiar lyrical choices, particularly the repeated use of "little child," and how cultural context may have shaped its phrasing. Additionally, Kenyon dissects the harmonic structure, noting the secondary dominants and jazz-inspired turnaround that hint at Lennon’s growing musical ambition. Through critical analysis, this lecture unpacks Little Child as both a curious outlier and a revealing study in the Beatles’ songwriting process. Hosted on Acast. See acast.com/privacy for more information.

Feb 23

What inspired George Harrison to write his first song, “Don’t Bother Me”? A bout of illness and some friendly pressure from Mersey Beat’s Bill Harry played a role. In this episode, Peter and Kenyon explore Harrison’s 1963 composition, marking his songwriting debut in the Beatles’ catalog. Written in a Bournemouth hotel room while George was bedridden, the track stands apart from Lennon-McCartney’s upbeat hits with its minor key and moody tone. The hosts discuss the song’s harmonic ambiguity, its unique blend of rock and Latin rhythms, and Harrison’s use of unconventional chords that add tension to the composition. They also delve into the recording process, including Ringo Starr’s use of a doumbek drum and the challenges of double-tracking George’s vocals. Discover why “Don’t Bother Me” is more than just a deep cut—it’s the first step in George Harrison’s journey as a songwriter. Hosted on Acast. See acast.com/privacy for more information.

Feb 23

In this lecture, Kenyon takes a detailed look at George Harrison’s songwriting debut with "Don’t Bother Me," from With the Beatles. Written during a bout of illness in a Bournemouth hotel room, the track showcases Harrison’s unique perspective, focusing less on heartbreak and more on isolation and frustration. Kenyon examines the song’s harmonic ambiguity, highlighting its blend of Dorian and Aeolian modes, and how its use of unconventional chord choices reflects Harrison’s experimentation. The session also explores the rhythmic complexity, with Latin-inspired percussion and George’s melodic phrasing, which outlines the pentatonic scale in fresh ways. Kenyon discusses how the song’s introverted themes and curmudgeonly tone differ from Lennon-McCartney’s approach, offering early insights into Harrison’s emerging voice as a songwriter. This lecture provides a comprehensive analysis of "Don’t Bother Me," revealing its place as a pivotal moment in Harrison’s artistic journey and the Beatles’ evolving sound. Hosted on Acast. See acast.com/privacy for more information.

Feb 15

What makes “All My Loving” the song that signaled a shift in the Beatles' dynamic? In this episode, Peter and Kenyon dive into Paul McCartney’s first major contribution to the Beatles’ catalog, written during a tour bus ride in 1963. The song marked a turning point as McCartney's melodic genius began to rival Lennon’s dominance. With influences ranging from country and western to pop balladry, the track introduced signature elements like John Lennon’s relentless triplet rhythm guitar and George Harrison’s Nashville-inspired solo. The hosts also explore how "All My Loving" became a cultural phenomenon, despite never being released as a single, with performances on The Ed Sullivan Show helping to ignite Beatlemania in the United States. Packed with surprising insights, this episode highlights the song's pivotal role in shaping the Beatles’ legacy and offers a fresh look at one of their most beloved tracks. Hosted on Acast. See acast.com/privacy for more information.

Feb 15

In this lecture, Kenyon explores "All My Loving," one of Paul McCartney’s standout tracks from With the Beatles. The session delves into the song’s unique blend of emotional resonance and technical sophistication, beginning with its 32-bar form and seamless integration of A and B sections. Kenyon highlights McCartney’s innovative bassline, which employs a walking pattern to create dynamic counterpoint with the melody, and examines John Lennon’s relentless triplet rhythm guitar, which lends the song its distinctive driving energy. The discussion extends to the harmonic structure, focusing on McCartney’s use of a flat-seven chord and descending thirds to evoke a sense of longing amidst the song’s upbeat tempo. By analyzing the lyrics, Kenyon uncovers the thematic interplay of anticipation and devotion, positioning "All My Loving" as a defining example of McCartney’s early mastery of songwriting. This lecture provides a deep dive into one of the Beatles’ most iconic love songs. Hosted on Acast. See acast.com/privacy for more information.

Feb 9

Although "It Won’t Be Long" kicks off With the Beatles with a jolt of energy and ambition, "All I’ve Got to Do" takes a quieter, more introspective approach, marking a surprising tonal shift. Written by John Lennon and inspired by Smokey Robinson and the Miracles, this track was one of the earliest Beatles songs to experiment with emotional vulnerability and minimalistic arrangements. Peter and Kenyon explore the song's sparse yet impactful instrumentation, Lennon's unadorned vocal delivery, and the intriguing harmonic shifts that lend the track its brooding atmosphere. They also discuss how the song’s use of "call and response" hints at the band’s deepening understanding of soul and R&B traditions. Despite being overshadowed by other tracks on the album, "All I’ve Got to Do" offers a fascinating study in restraint and raw emotion, revealing a side of the Beatles that feels both deeply personal and musically innovative. Hosted on Acast. See acast.com/privacy for more information.

Feb 9

In this lecture, Kenyon explores "All I’ve Got to Do," an introspective track from With the Beatles. Written by John Lennon, the song combines soulful simplicity with sophisticated musical elements, revealing the Beatles’ growing artistic depth. Kenyon examines its unique structural features, such as the interplay between a darker, introspective A section and an uplifting middle eight, each representing contrasting emotional states. He delves into the song’s harmonic shifts between E major and C-sharp minor, its use of progressive ostinato, and Lennon’s hallmark techniques like appoggiaturas and the Lennon triple. The lecture also highlights the cultural context, including the intentional inclusion of American references like the telephone to appeal to transatlantic audiences. By analyzing Lennon’s melodic phrasing, harmonic choices, and lyrical themes, Kenyon uncovers the nuanced craftsmanship behind this understated gem. This session offers a deeper appreciation of how "All I’ve Got to Do" balances vulnerability with musical sophistication. Hosted on Acast. See acast.com/privacy for more information.

Feb 2

What if the Beatles had chosen "It Won't Be Long" as a single instead of "I Want to Hold Your Hand"? Peter and Kenyon dive into this electrifying album opener, examining its sophisticated use of unusual chord progressions, lyrical wordplay, and high-energy performance. The song captures a transitional moment for the Beatles as they began blending rock and roll vigor with more nuanced compositional techniques. The hosts explore the challenges of its recording process, including John Lennon’s vocal intensity and George Harrison’s precise guitar work. They also touch on the song's historical significance, marking the Beatles' move toward wider critical acclaim and their burgeoning maturity as musicians. Packed with fun anecdotes and keen insights, this episode uncovers how "It Won’t Be Long" sets the tone for With the Beatles and reflects the band’s rapid evolution. Hosted on Acast. See acast.com/privacy for more information.

Feb 2

In this lecture, Kenyon unpacks "It Won’t Be Long," the electrifying opening track of With the Beatles. The session explores the song’s innovative structural ambiguity, examining how Lennon and McCartney blend elements of 32-bar form with distinct sections to craft a high-energy narrative. Kenyon highlights the song’s harmonic complexity, from its surprising use of C major and chromatic descents to its playful exploration of appoggiaturas—a Lennon hallmark. The lecture dives into the lyrical wordplay, such as the double meaning of "It won’t be long till I belong to you," which mirrors techniques seen in earlier singles like "Please Please Me." Kenyon also examines how the song’s antiphonal "yeah, yeah, yeah" responses echo the success of "She Loves You" while adding fresh energy. This deep analysis reveals "It Won’t Be Long" as a pivotal track in the Beatles’ evolution, showcasing their growing confidence as both composers and performers. Hosted on Acast. See acast.com/privacy for more information.

Jan 25

John Lennon believed "I'm in Love" could be a hit—but not for the Beatles. Instead, the 1963 track was handed off to the Fourmost, offering a glimpse into the Lennon-McCartney machine’s remarkable output during their peak years. Peter and Kenyon explore the song’s bittersweet lyrics, unusual rhythmic phrasing, and its distinctive descending chord sequence, which hints at the Beatles’ early flirtation with complexity. The hosts discuss the differences between Lennon’s original piano demo—raw and emotional—and the Fourmost’s polished cabaret interpretation, revealing how the song’s essence shifted across versions. Along the way, they uncover anecdotes about the Beatles’ generosity toward other artists and the strategic decisions behind giving away songs. Tune in to hear how “I’m in Love” exemplifies Lennon’s gift for blending pop sensibility with emotional resonance, even in a track the Beatles never claimed for themselves. Hosted on Acast. See acast.com/privacy for more information.

Jan 25

In this lecture, Kenyon examines "I'm in Love," a 1963 John Lennon composition that was given to the Fourmost rather than being recorded by the Beatles themselves. The session explores the song’s lyrical evolution, including its original refrain “I’m So Glad,” and how the eventual lyric choices deepened its emotional impact. Kenyon delves into the song’s harmonic structure, with its ambiguous tonal centers and progressive ostinato, illustrating how Lennon used repetitive melodic lines to create continuity while the chords shifted beneath. The lecture also highlights the interplay between the Fourmost’s polished recording style and the raw emotionality of Lennon’s piano demo. By focusing on these compositional elements and the broader historical context, Kenyon reveals how “I’m in Love” bridges the Beatles’ innovative early years with their ability to craft material for other artists, providing a rich study in creative generosity. Hosted on Acast. See acast.com/privacy for more information.

Jan 19

Peter and Kenyon explore "I Wanna Be Your Man," a pivotal 1963 Beatles song co-written by Lennon and McCartney and famously recorded by both the Beatles and the Rolling Stones. Written in just minutes to fulfill a request from the Stones for a new single, the song marked an important collaboration and rivalry between the two bands. The hosts dive into the Beatles’ version, sung by Ringo Starr, with its distinctive bluesy drive and layered production. They also examine how the Rolling Stones made the song their own, adding raw energy and a slide guitar solo by Brian Jones. The episode delves into the recording sessions, including George Martin’s contributions, and the song's unique use of chromaticism and rhythmic drive. With fascinating stories about its creation and insights into its cultural impact, Peter and Kenyon uncover how "I Wanna Be Your Man" shaped the paths of both iconic bands. Hosted on Acast. See acast.com/privacy for more information.

Jan 19

In this lecture, Kenyon dives into "I Wanna Be Your Man," the Beatles track written by Lennon and McCartney and performed by both the Beatles and the Rolling Stones in 1963. The session explores the song’s simple, blues-inspired structure and its playful approach to romantic lyrics. Kenyon dissects the unique musical features, including its circular chord progressions and chromatic slides, and highlights how Ringo Starr’s energetic vocal performance sets the tone for the Beatles’ version. The lecture also compares the raw, slide-guitar-driven Rolling Stones interpretation, providing insights into how the two bands adapted the song for their distinct styles. Kenyon examines the song’s historical significance as a collaboration between the Beatles and the Stones, a moment that underscored their mutual respect and friendly rivalry. Through detailed analysis, this session uncovers the subtle complexities of "I Wanna Be Your Man" and its place in early rock history. Hosted on Acast. See acast.com/privacy for more information.

Jan 12

Peter and Kenyon dive into "I'll Keep You Satisfied," a song written by Paul McCartney in 1963 for Billy J. Kramer with the Dakotas. The track showcases McCartney’s melodic craftsmanship during the Beatles’ peak songwriting era, blending heartfelt lyrics with catchy hooks and a lively rhythm. The hosts discuss the song’s origins, written as part of Lennon and McCartney’s efforts to provide hits for other artists managed by Brian Epstein. They analyze its dynamic chord progressions, uplifting message, and Billy J. Kramer’s performance style, which brought McCartney’s vision to life. Additionally, Peter and Kenyon reflect on the broader context of the Beatles’ collaborative approach to songwriting at the time and the creative rivalry that pushed both Lennon and McCartney to continually outdo each other. This episode offers insights into how "I'll Keep You Satisfied" fits into the Beatles’ legacy and their role as pop music innovators. Hosted on Acast. See acast.com/privacy for more information.

Jan 12

In this lecture, Kenyon examines "I'll Keep You Satisfied," a 1963 song written by Paul McCartney for Billy J. Kramer with the Dakotas. Exploring the lyrics, Kenyon describes the song as a confident yet straightforward romantic pitch, with simple rhymes and repetitive phrasing that reflect McCartney’s early pop sensibilities. The analysis dives into the harmonic structure, emphasizing its jazz-influenced ii-V-I progressions and a ragtime-inspired four-to-minor-four progression. Kenyon also highlights the pentatonic melody, which lends the song an easy-to-sing quality characteristic of McCartney’s early writing. He critiques the static middle eight, pointing out its lack of harmonic relief and melodic innovation compared to McCartney’s later work. Through detailed musical and lyrical analysis, Kenyon illustrates how "I'll Keep You Satisfied" showcases McCartney’s evolving songwriting while serving as a testament to the Beatles’ efforts to craft hits for other artists, marking a unique moment in their early career. Hosted on Acast. See acast.com/privacy for more information.

Dec 8, 2024

Peter and Kenyon dive into "Love of the Loved," a song written by Paul McCartney in 1959 during his Quarrymen days and later performed at the Beatles’ Decca audition in 1962. The track reflects McCartney’s early compositional style, blending melodic sophistication with heartfelt emotion. The hosts discuss the song’s journey, from an unreleased Beatles recording to a 1963 single by Liverpool’s own Cilla Black, produced by George Martin. They explore the song’s unique musical elements, such as its descending melodic motif and unusual chord transitions, alongside McCartney’s Elvis-inspired vocal delivery. The episode delves into the cultural and historical context of the track, highlighting its role in Brian Epstein’s management strategy and its connection to the Beatles’ pivotal Decca audition. With sharp analysis and engaging anecdotes, Peter and Kenyon unpack the story behind a lesser-known yet significant early Beatles composition. Hosted on Acast. See acast.com/privacy for more information.

Dec 8, 2024

In this lecture, Kenyon delves into "Love of the Loved," a Paul McCartney composition written during the pre-Beatles Quarrymen days. The session examines how McCartney’s early songwriting instincts blend heartfelt lyrics with sophisticated harmonic techniques. Kenyon explores the song’s structure, highlighting its dynamic interplay between the keys of E and G, a progressive ostinato that evolves through the melody, and the use of chromatic shifts to add emotional depth. The analysis compares the Beatles’ early demo with Cilla Black’s polished 1963 release, produced by George Martin, focusing on differences in arrangement, instrumentation, and performance. Kenyon also reflects on McCartney’s recurring motifs, such as rain symbolizing sadness and resolution, as well as his ability to craft memorable patterns. This lecture offers a detailed study of how "Love of the Loved" bridges McCartney’s early songwriting experiments with the more refined techniques that would define the Beatles’ later success. Hosted on Acast. See acast.com/privacy for more information.

Dec 1, 2024

Peter and Kenyon analyze "Hello Little Girl," the first song John Lennon ever wrote, penned at age 16 in 1957. Originally inspired by his mother’s favorite 1930s tune, the song reflects Lennon’s early melodic instincts and storytelling abilities. The hosts explore its journey from a home demo with Stu Sutcliffe on bass to the Beatles’ Decca audition and its eventual release by the Fourmost in 1963. They delve into the song’s unconventional structure, including its unique dual middle-eight sections, and how it compares to Lennon’s later, more polished compositions. The episode also highlights the Fourmost’s cabaret-style origins and their role in bringing the song to the charts. With its catchy melodies and youthful charm, "Hello Little Girl" showcases Lennon’s emerging songwriting talent and provides an intriguing glimpse into the Beatles’ formative years. Hosted on Acast. See acast.com/privacy for more information.

Dec 1, 2024

In this lecture, Kenyon examines "Hello Little Girl," the first song John Lennon ever wrote, composed at age 16 in 1957. The discussion focuses on the song's lyrical simplicity, centered around themes of unrequited young love, and its unique melodic features, such as the use of a progressive ostinato and a symmetrical chord structure. Kenyon explores how Lennon’s early songwriting tendencies—playful rhymes, chromatic shifts, and repetitive phrases—reflect his youthful creativity but also his lack of refinement at the time. The lecture contrasts the Beatles’ Decca audition version with the Fourmost’s released recording, highlighting the interpretive choices each brought to the track. By analyzing its harmonic quirks and melodic sequences, Kenyon demonstrates how "Hello Little Girl" serves as an example of Lennon’s developing voice as a songwriter. This session offers listeners a fascinating look at the Beatles’ earliest origins and the seeds of their musical genius. Hosted on Acast. See acast.com/privacy for more information.

Nov 24, 2024

In this episode, Peter and Kenyon dive into "I'll Get You," the B-side to the Beatles' iconic 1963 hit "She Loves You." Originally titled "Get You in the End," the song showcases Lennon and McCartney's collaborative process and knack for crafting engaging melodies. The hosts explore the song's folk-inspired roots, including its connection to Joan Baez’s “All My Trials,” and how its unusual chord progressions add depth to the composition. They also discuss the recording session, produced by George Martin and engineered by Norman Smith, and delve into the unique techniques that brought the song to life. With its "Oh yeah" refrain and progressive ostinato in the middle eight, "I'll Get You" reflects the Beatles' growing musical sophistication during their early career. Peter and Kenyon uncover the song's historical and musical context, offering fresh insights into this often-overlooked gem in the Beatles' catalog. Hosted on Acast. See acast.com/privacy for more information.

Nov 24, 2024

In this lecture, Kenyon explores "I'll Get You," a fascinating early Beatles track co-written by Lennon and McCartney. As the B-side to "She Loves You," this song offers a unique glimpse into the band's evolving songwriting techniques. Kenyon examines the track's lyrical themes, which blend imaginative visualization with a persistent declaration of affection, revealing John Lennon’s influence through its introspective tone and unconventional phrasing. The analysis highlights the song’s harmonic subtleties, including the use of appoggiaturas and color chords, alongside its progressive ostinato—a technique where the melody repeats while the chords evolve beneath it. Kenyon also discusses the song's rhythmic phrasing, harmonies, and the dynamic contrasts between sections, showcasing the Beatles’ early experimentation with structure and arrangement. This lecture provides a deep dive into a lesser-known gem, shedding light on the compositional elements that mark the band’s journey toward musical sophistication. Hosted on Acast. See acast.com/privacy for more information.

Nov 17, 2024

Peter and Kenyon break down "She Loves You," the Beatles' groundbreaking 1963 hit that became their best-selling single in the UK and a defining moment in their early career. They explore its origins, written "eyeball to eyeball" by Lennon and McCartney in a Newcastle hotel room, inspired by Bobby Rydell’s “Forget Him.” The hosts discuss its innovative structure, including its use of a refrain, a rare Beatles first, and George Harrison’s influential sixth chord contribution. They also delve into the high-energy recording session, amplified by a fan frenzy outside EMI Studios, and the song’s massive cultural impact. From Ringo's dynamic drumming to Paul’s driving harmonies, "She Loves You" encapsulates the essence of early Beatlemania. Peter and Kenyon provide fascinating insights into the song’s creation, its legacy, and how it set the stage for the Beatles’ rise to global dominance. Hosted on Acast. See acast.com/privacy for more information.

Nov 17, 2024

In this lecture, Kenyon offers an in-depth exploration of the Beatles' iconic 1963 hit, "She Loves You." Written by Lennon and McCartney, the song’s innovative use of pronouns and its anthemic “Yeah, Yeah, Yeah” refrain revolutionized pop songwriting. Kenyon examines the track’s unique harmonic structure, including the incorporation of plagal cadences and George Harrison’s suggested sixth chord, which added depth to its jubilant tone. The lecture delves into the song’s lyrical narrative of reconciliation, showcasing how the verses offer a thoughtful progression of themes, from heartbreak to renewed hope. Kenyon also highlights the track’s vibrant energy, from Ringo Starr’s dynamic drumming to George Martin’s production finesse, which ensured the Beatles’ distinctive sound would shine through. "She Loves You" is a case study in innovation and cultural impact, making it a pivotal moment in Beatles history and a defining track of early Beatlemania. Hosted on Acast. See acast.com/privacy for more information.

Nov 10, 2024

In this episode, Peter and Kenyon explore "Tip of My Tongue," a song written by Paul McCartney in 1962 but never released by the Beatles. Instead, it was given to Tommy Quickly, a Liverpool singer under Brian Epstein’s management. The hosts discuss how this track stands out due to its quirky melody and unusual chord changes, which make it feel distinctly different from other early Beatles songs. They analyze why producer George Martin wasn’t fond of it and refused to record it with the Beatles, leading to its eventual recording by Quickly. Despite having the Lennon-McCartney credit, the song struggled commercially, never making it onto the charts. Peter and Kenyon explore what makes this song intriguing yet challenging, discussing its place in Beatles history as a rare misfire during a time when the band’s other compositions were skyrocketing to success. Hosted on Acast. See acast.com/privacy for more information.

Nov 10, 2024

In this Beatles lecture, Kenyon delves into "Tip of My Tongue," a song written by Paul McCartney at age 20 and ultimately given to Liverpool singer Tommy Quickly. Though never officially recorded by the Beatles, this track offers an intriguing look at McCartney's songwriting experimentation. Kenyon explores its lyrical themes of nervous affection, noting the clever wordplay and the “la la la” motif, which captures the struggle of unspoken feelings. Musically, the song presents a distinct contrast to typical Beatles material, incorporating unusual chord changes and a melodic structure that adds a quirky charm. The lecture also examines Quickly’s recording, comparing it to other covers and analyzing how different artists interpret the song's unique qualities. Through detailed musical and lyrical analysis, Kenyon offers insights into why "Tip of My Tongue" is both an underappreciated curiosity and an example of the Beatles’ evolving songwriting techniques. Hosted on Acast. See acast.com/privacy for more information.

Nov 3, 2024

Peter and Kenyon explore "I Call Your Name," a song John Lennon wrote at age 16 and later recorded by the Beatles and Billy J. Kramer with the Dakotas. They dive into the song’s origins, highlighting its blues and ska influences, as well as its history, from Lennon's initial composition to its multiple versions. The hosts discuss the unique recording process, which included different mixes and takes for various releases, and analyze the song's structural elements, such as the experimental solo section and George Harrison's 12-string guitar debut. They also touch on how Lennon's early life experiences may have influenced the song's lyrics, providing a deeper understanding of its emotional context. This episode offers fresh insights into a lesser-known track, revealing the Beatles' evolving sound and Lennon's growth as a songwriter. Hosted on Acast. See acast.com/privacy for more information.

Nov 3, 2024

In this Beatles lecture, Kenyon delves into "I Call Your Name," a song written by John Lennon when he was just 16. The discussion explores the song's straightforward lyrics and harmonic structure, highlighting its mix of blues and ska influences. Kenyon analyzes the use of unconventional chord progressions, melodic phrasing, and compositional techniques, noting how the song reflects Lennon's early experiences and emotions, possibly linked to his childhood and family life. The lecture also covers how the Beatles' version evolved from Lennon's initial ideas, the song's recording history, and its connection to Billy J. Kramer with the Dakotas. Offering a deeper understanding of one of the Beatles' lesser-known tracks, this session provides insights into Lennon's development as a songwriter and encourages participants to experiment with reworking the song’s elements as a creative exercise. Hosted on Acast. See acast.com/privacy for more information.

Oct 27, 2024

Peter and Kenyon dive into "Bad to Me," a song written by John Lennon in 1963 and gifted to Billy J. Kramer with the Dakotas. They explore the track's origins, detailing Lennon’s songwriting process, including the rumored inspirations behind its lyrics and the distinct Buddy Holly influence. The discussion extends to the recording history, contrasting the Beatles' original demo with Billy J. Kramer with the Dakotas' produced version, and assessing how George Martin's production style shaped the final sound. Peter and Kenyon also touch on the broader context of the era, from the Beatles' relentless touring schedule to Lennon's evolving role within the band. This episode offers an engaging exploration of how a lesser-known Lennon-McCartney composition fits into the Beatles' musical evolution and provides insights into their collaborative relationships with other artists during their early years. Hosted on Acast. See acast.com/privacy for more information.

Oct 27, 2024

In this lecture, Kenyon delves into "Bad to Me," a 1963 song written by John Lennon for Billy J. Kramer with the Dakotas. The discussion covers the song’s lyrical themes, musical structure, and Lennon's use of innovative harmonic techniques. Kenyon examines the track's Buddy Holly influences, lyrical motifs involving nature, and the unique chord progressions that set it apart from other early Beatles compositions. He contrasts the Beatles' original demo with Billy J. Kramer with the Dakotas' recorded version, exploring how subtle changes in arrangement and production by George Martin shaped the final sound. The analysis extends to Lennon's evolving songwriting style, including the influence of his personal experiences on the song's content. This lecture provides a deeper appreciation of "Bad to Me," revealing the intricacies of a song that connects the dots between the Beatles' early pop roots and their future musical experimentation. Hosted on Acast. See acast.com/privacy for more information.

Oct 19, 2024

Peter and Kenyon dive into "I'll Be On My Way," a Beatles song written by Paul McCartney at 17 and given to Billy J. Kramer with the Dakotas. The hosts explore the song’s Buddy Holly-inspired style, lyrical themes, and unique musical elements, including its distinctive chord changes and vocal harmonies. They discuss the track's history, from its early days to the BBC recording, and compare the Beatles’ version with Kramer’s, examining the differences in interpretation and arrangement. Along the way, the episode offers insights into the Beatles’ songwriting process, early collaborations, and the cultural backdrop of the 1960s Liverpool music scene. Hosted on Acast. See acast.com/privacy for more information.

Oct 19, 2024

Kenyon's Beatles lecture series offers an in-depth analysis of "I'll Be On My Way," a song written by Paul McCartney at age 17 and given to Billy J. Kramer and the Dakotas. This lecture explores the track's mature lyrical themes of parting and self-reflection, the influence of Buddy Holly on its musical structure, and the distinctive chord progressions that evoke a journey. Kenyon also contrasts the Beatles' minimalist BBC recording with Kramer's studio version, shedding light on how the band's arrangements evolved. With insights into the broader cultural and musical context of 1960s Liverpool, the series provides a unique perspective on the early stages of the Beatles' songwriting process. This episode reveals how the group's unfinished ideas still offered a glimpse into their emerging artistry, inviting listeners to appreciate the nuances behind one of the Beatles' lesser-known tracks. Hosted on Acast. See acast.com/privacy for more information.

Oct 13, 2024

In this episode, Peter and Kenyon discuss "Thank You Girl," a Beatles track written by Lennon and McCartney in 1963. Originally titled "Thank You Little Girl," the song was created as a tribute to the band's fans following the success of "Please Please Me." The hosts dive into the song’s collaborative writing process, its lively harmonica overdubs performed by a sick John Lennon, and Ringo Starr's energetic drum fills. They also explore the recording techniques used by engineer Norman Smith, which marked a shift in how the Beatles' sound was captured. While "Thank You Girl" is a B-side, it holds significance as a reflection of the Beatles’ early gratitude towards their fanbase and the evolution of their recording process. Peter and Kenyon share personal reflections on the track's energy, its pop sensibilities, and its place within the Beatles’ catalog, making this a fun and insightful episode. Hosted on Acast. See acast.com/privacy for more information.

Oct 13, 2024

In this lecture, Kenyon takes a closer look at "Thank You Girl," a 1963 Beatles track written by Lennon and McCartney. Designed as a fan tribute, this song represents the early Beatles' practice of connecting directly with their listeners. Kenyon delves into the song's straightforward lyrics and harmonic structure, focusing on the repetitive falling melodies and the textural changes that shift focus within the song. He highlights the unique recording techniques used, including John Lennon's harmonica overdub, recorded while he was ill, and Norman Smith’s early innovations in mic placement and sound separation. Though a B-side, "Thank You Girl" showcases the Beatles' evolving sound and songwriting collaboration. Kenyon’s analysis of the song's composition, structure, and arrangement offers insight into the subtle shifts that make the track memorable, while shedding light on the broader musical context in which the Beatles were working during this period. Hosted on Acast. See acast.com/privacy for more information.

Oct 13, 2024

In this episode, Peter and Kenyon explore “From Me to You,” the Beatles’ first official number-one hit in the UK. Written by John Lennon and Paul McCartney during the Helen Shapiro tour in 1963, the song marked a turning point in their songwriting. The hosts analyze its catchy melody, bluesy harmonica, and how it deviates from the Beatles' earlier work with its darker tones and unique chord progressions. They also discuss the song's recording process, including the intricate overdubs and edits that went into crafting the final version. Delving into its chart success and the song's significance in Beatles history, Peter and Kenyon bring new insights to this classic track, offering listeners a deeper appreciation of its musical complexity and emotional depth. Hosted on Acast. See acast.com/privacy for more information.

Oct 13, 2024

In this lecture, Kenyon takes an in-depth look at "From Me to You," a 1963 song by John Lennon and Paul McCartney. As the Beatles’ first number-one hit in the UK, the song showcases their early knack for melody and personal connection with fans. Kenyon explores the song’s structure, including its signature harmonica intro, chord progressions, and its place in the "pronoun game" used by the Beatles to engage listeners directly. He delves into the harmonic shifts, blues influences, and lyrical themes, breaking down how the song’s simplicity belies a sophisticated use of tension and release. The lecture also highlights the unique decision to end with a harmonica phrase that harkens back to the intro. With historical context and musical insights, Kenyon reveals how "From Me to You" fits into the Beatles' broader evolution and the songwriting genius that made them pioneers in pop music. Hosted on Acast. See acast.com/privacy for more information.

Oct 6, 2024

In this episode, Peter and Kenyon dive into the electrifying "Twist and Shout." They reveal the song's origins, originally written by Phil Medley and Bert Berns and covered by the Isley Brothers before the Beatles' iconic version. Recorded as the final track during the marathon session for "Please Please Me," John's powerful vocal performance, despite a cold, is a standout. The hosts discuss the impact of John's scream, the significance of the recording session, and the song's thrilling energy, capturing the Beatles' ability to transform and energize a track. Hosted on Acast. See acast.com/privacy for more information.

Sep 29, 2024

In this episode of The Beatles: Note by Note , Peter and Kenyon dive into "There's a Place," a track from the Beatles' debut album Please Please Me . The hosts explore the song's introspective lyrics, drawing parallels between John Lennon's emotional depth and the influence of songs like "Somewhere" from West Side Story . They discuss the song's Motown-inspired origins and its thematic connection to early Beach Boys tracks like "In My Room," highlighting Lennon's ability to craft a mental escape through music. Peter and Kenyon also reflect on the track’s "psychedelic" undertones, suggesting it foreshadows the Beatles' later exploration of transcendental meditation and altered perceptions. The episode breaks down the harmonies, led by Paul McCartney, which add an ethereal quality, and the recording process at Abbey Road Studios, noting the use of harmonica and overdubs. The hosts debate whether this could be considered the Beatles' first psychedelic lyric, underscoring the song's experimental nature despite its placement on their first album. Hosted on Acast. See acast.com/privacy for more information.

Sep 29, 2024

In this lecture series, Kenyon breaks down the lyrics and music of There's A Place. What features indicate that John and Paul felt that this was good enough to be their next single? How does the song utilize all the techniques they've used so far on Please Please Me? Despite such a simple presentation, Kenyon reveals that The Beatles were always pushing the envelope and innovating. If you ever wanted to know more about how a Beatles song works, the lecture series is more than illuminating. Hosted on Acast. See acast.com/privacy for more information.

Sep 22, 2024

Peter and Kenyon explore the Beatles' rendition of "A Taste of Honey" from their debut album "Please Please Me" in this episode. Recorded on February 11, 1963, the same day as most of the album, they delve into the song's background, originally written by Bobby Scott and Rick Marlowe and famously covered by Lenny Welch. They discuss John Lennon's dismissal of the song as "a waste of money" and how Paul's vocal performance stands out. The hosts also cover the recording techniques used, including double tracking, and share insights into the song's structure and harmonies, showcasing the Beatles' early versatility. Hosted on Acast. See acast.com/privacy for more information.

Sep 15, 2024

In this episode, Peter and Kenyon delve into "Do You Want to Know a Secret?" from the Beatles' "Please Please Me" album. Written by John Lennon in late 1962 and inspired by Disney's "Snow White and the Seven Dwarfs" and a 1961 release by The Stereo's, the song has an intimate backstory. The hosts discuss the recording techniques, including George Harrison's lead vocals, the use of echo chambers, and examine the song's place in the Beatles' early catalog and its connection to the Liverpool music scene. Hosted on Acast. See acast.com/privacy for more information.

Sep 15, 2024

In this lecture series, Kenyon breaks down the lyrics and music of the Do You Want To Know A Secret. A masterclass in how to telegraph songwriting subtlties, Lennon hides dozens of chromatic motifs through the song. And, there may be a hidden message in the lyrics. If you ever wanted to know more about how a Beatles song works, the lecture series is more than illuminating. Hosted on Acast. See acast.com/privacy for more information.

Sep 8, 2024

Peter and Kenyon explore "Baby, It's You," a track from the Beatles' debut album "Please Please Me," in this episode. Written by Burt Bacharach, Mack David, and Barney Williams, and first recorded by The Shirelles, the Beatles' version features John's soulful lead vocals and George Martin's skillful production. Recorded during the marathon session on February 11, 1963, the hosts analyze the band's approach to cover songs and the recording techniques that distinguish this track, highlighting how the Beatles made "Baby, It's You" their own. Hosted on Acast. See acast.com/privacy for more information.

Sep 8, 2024

In this episode, Peter and Kenyon examine "Boys" from the Beatles' debut album "Please Please Me." Originally by The Shirelles, this track features Ringo Starr's first recorded lead vocal performance with the Beatles. The hosts discuss the song's history, its popularity in the band's early live shows, and the unique recording techniques used during the February 11, 1963 session. They compare the Beatles' version with The Shirelles' original and share interesting anecdotes about the album cover photoshoot and other milestones for the band. Hosted on Acast. See acast.com/privacy for more information.

Sep 8, 2024

Peter and Kenyon delve into "Chains," a track from the Beatles' "Please Please Me" album, in this episode. They explore the song's origins, written by Gerry Goffin and Carole King and initially performed by The Cookies. The discussion includes the Brill Building era's significance in the music industry and its influence on the Beatles. The hosts compare the Beatles' rendition with The Cookies' original, debating the merits of each, and highlight the song's role in the Beatles' live performances and recording practices. Hosted on Acast. See acast.com/privacy for more information.

Sep 8, 2024

In this episode, Peter and Kenyon analyze "Anna (Go to Him)" from the "Please Please Me" album. They trace the song's roots to writer Arthur Alexander and its 1962 release. Peter prefers Alexander's original version, praising its soulful quality, while Kenyon admires John Lennon's rhythmic precision and emotive delivery in the Beatles' cover. The hosts discuss the recording process, which involved a single take without overdubs, and examine the song's cultural impact, including its feature in a "Married with Children" episode. Hosted on Acast. See acast.com/privacy for more information.

Aug 31, 2024

Peter and Kenyon explore "Misery" from the Beatles' album "Please Please Me" in this episode. They discuss the band's groundbreaking approach of writing and performing their own material and the song's origin, initially penned by John Lennon for Helen Shapiro. While Peter expresses initial indifference towards the song, Kenyon appreciates its complex musical structure and Lennon's use of half steps to evoke a sense of desolation. The hosts touch on the recording process, including George Martin's pioneering half-speed overdubbing technique, and acknowledge the song's role in cementing the Beatles' legacy. Hosted on Acast. See acast.com/privacy for more information.

Aug 31, 2024

In this lecture series, Kenyon breaks down the lyrics and music of Misery. Discover all the hidden secrets that Lennon wrote into this song to make you sing along. Find out why a song called Misery is in a happy, major key. If you ever wanted to know more about how a Beatles song works, the lecture series is more than illuminating. Hosted on Acast. See acast.com/privacy for more information.

Aug 24, 2024

In this episode, Peter and Kenyon discuss "I Saw Her Standing There" from the Beatles' debut album "Please Please Me." They explore the song's creation, originally titled "Seventeen", and its composition by Paul McCartney in late 1962. The hosts highlight the song's energetic vibe and the iconic count-off, emphasizing its reflection of the Beatles' dynamic live performances. They also delve into the musical influences, such as Chuck Berry, and the innovative recording techniques employed by George Martin, examining the song's place in the Beatles' early catalog and its enduring appeal. Hosted on Acast. See acast.com/privacy for more information.

Aug 24, 2024

In this lecture series, Kenyon breaks down the lyrics and music of the very first release of the Beatles. Surprisingly, I Saw Her Standing There is a rewrite of a very popular song. Discover it's unexpected origins and how Paul McCartney developed the sing beyond the scope of its humble origins. If you ever wanted to know more about how a Beatles song works, the lecture series is more than illuminating. Hosted on Acast. See acast.com/privacy for more information.

Aug 18, 2024

This episode features a deep dive into "Ask Me Why," penned by John Lennon and influenced by Smokey Robinson and the Miracles. Peter and Kenyon highlight the song's sophisticated structure and musical intricacies, which showcase Lennon's developing songwriting skills. Recorded in mid-1962 and released as the B-side to "Please Please Me," the episode covers the recording process, Ringo Starr's drumming, and George Martin's production impact. The hosts also discuss the song's lyrical themes, contrasting Lennon's usual pessimism with the rare optimism found in this track, bringing this often overlooked song into the spotlight. Hosted on Acast. See acast.com/privacy for more information.

Aug 18, 2024

In this lecture series, Kenyon breaks down the lyrics and music of the very first release of the Beatles. Kenyon catalogs many of John Lennon songwriting features, as they appear in this one-of-a-kind early composition. This episode is essential for learning the vocabulary of Lennon's songwriting. If you ever wanted to know more about how a Beatles song works, the lecture series is more than illuminating. Hosted on Acast. See acast.com/privacy for more information.

Aug 16, 2024

Peter and Kenyon explore "Please Please Me," the Beatles' inaugural chart-topping hit, in this episode. Initially written by John Lennon as a slow Roy Orbison-inspired ballad, producer George Martin's suggestion to quicken the tempo transformed it into a commercial success. The hosts delve into the recording intricacies, including the harmonica overdubs and synchronization challenges in the stereo mix. They also discuss how "Please Please Me" catapulted the Beatles to fame, notably through their first significant TV appearance arranged by publisher Dick James, setting the stage for their future dominance in the music industry. Hosted on Acast. See acast.com/privacy for more information.

Aug 16, 2024

In this lecture series, Kenyon breaks down the lyrics and music of the very first release of the Beatles. Please Please Me is a masterclass of pop music songwriting. Kenyon highlights the amazing tension and release of the harmonies as well as the classic vocal harmonies. If you ever wanted to know more about how a Beatles song works, the lecture series is more than illuminating. Hosted on Acast. See acast.com/privacy for more information.

Aug 10, 2024

In this installment of "The Beatles: Note by Note," Peter and Kenyon dissect "P.S. I Love You," the B-side to "Love Me Do." Composed by a young Paul McCartney, the song exemplifies the Beatles' early technique of using pronouns to create an intimate listener experience. The hosts examine various recording sessions, including versions with Pete Best and Andy White, and the final cut featuring Ringo on maracas. They explore the song's letter-like lyrics, deceptive cadences, and innovative recording methods, such as the use of echo chambers and custom EQ units, highlighting the band's early experimental spirit in music production. Hosted on Acast. See acast.com/privacy for more information.

Aug 10, 2024

In this lecture series, Kenyon breaks down the lyrics and music of Paul McCartney's dazzling P.S. I Love You. Listen as Kenyon describes how McCartney uses word painting to build an actual postscript into the music itself. If you ever wanted to know more about how a Beatles song works, the lecture series is more than illuminating. Hosted on Acast. See acast.com/privacy for more information.

Aug 10, 2024

In the premiere episode of "The Beatles: Note by Note," hosts Peter and Kenyon delve into the origins of the Beatles' first single, "Love Me Do." They discuss the initial recording with Pete Best on drums and its subsequent re-recordings featuring Ringo Starr and Andy White. Despite producer George Martin's initial doubts about the Beatles' songwriting, this blues-influenced track became integral to their early triumphs. The hosts also address rumors of Brian Epstein allegedly inflating sales and emphasize the song's significance in marking the Beatles' shift from live performers to studio artists. The episode highlights the song's lasting influence and its foundational role in the Beatles' early identity. Hosted on Acast. See acast.com/privacy for more information.

Aug 10, 2024

In this lecture series, Kenyon breaks down the lyrics and music of the very first release of the Beatles. Despite such a simple presentation, Kenyon reveals that The Beatles were always pushing the envelope and innovating. If you ever wanted to know more about how a Beatles song works, the lecture series is more than illuminating. Hosted on Acast. See acast.com/privacy for more information.