The Beatles: Note By Note

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.