The Beatles: Note By Note

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, slashing guitar tone, and how the Beatles’ version, recorded in just five takes, adds a muscular polish to Berry’s blueprint. They discuss the track’s place in the album With the Beatles and how George Martin halted Capitol Records from releasing it as a 1964 single. From live performance innovations to misheard lyrics and the infamous jelly bean attacks, this episode unpacks how “Roll Over Beethoven” became an early showcase of the Beatles’ roots, energy, and sheer charisma.

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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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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, minor-key resolutions, and the signature D-Bm-Em-A7 progression that anchors the verses. The lecture also highlights the intricate vocal layering, with George’s internal melody and Paul’s soaring high harmonies creating a tightly woven choral texture. Special attention is given to the middle eight, where the Beatles break from their usual rock formula with a series of unexpected chord shifts, lending the song a sense of longing and unresolved tension. This lecture provides a deep dive into one of the Beatles’ most harmonically ambitious early compositions.

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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’s distinctive vocal blend, drawing on influences from The Teddy Bears and Bobby Freeman. They also explore the song’s unconventional middle eight, where Lennon’s dramatic chord progression and soaring vocal line transform a simple ballad into something far more intricate. From Ringo’s comic book reading during recording sessions to the song’s unlikely connection to a James Bond guitarist, this episode reveals the hidden layers behind one of the Beatles’ most overlooked B-sides.

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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 as too sentimental, and considers the possible influence of the Asher family on McCartney’s lyrical imagery, including references to isolation and introspection. The lecture also breaks down the song’s harmonic structure, with its surprising use of non-diatonic chords, suspended resolutions, and shifting modal patterns that reflect McCartney’s evolving compositional style. By analyzing the song’s form, melodic phrasing, and metaphorical language, Kenyon demonstrates how “A World Without Love” serves as a fascinating case study in McCartney’s early songwriting, capturing both youthful innocence and emotional complexity.

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