The Beatles: Note By Note

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.

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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.

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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.

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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.

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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.

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