The Beatles: Note By Note

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.