The Beatles: Note By Note

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...

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 capture...

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 himsel...

“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...

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 o...

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 an...

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...

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 it...

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 rese...

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—al...

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 sa...

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 de...

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...