The Beatles: Note By Note

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 i...

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. T...

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...

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 openi...

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...

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...

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...

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 explosi...

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 lectur...

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, po...

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 emotion...

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,...

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...

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, dr...

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 inclu...

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 landsca...

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, sla...

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 int...

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 perfor...

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 f...

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 i...

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...

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 Aeol...

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...

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 counterp...