The Beatles: Note By Note

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 lecture examines how Lennon and McCartney use alternating couplets to create tension between directness and vulnerability, supported by a harmonic pattern that moves fluidly between major and minor tonalities. Kenyon highlights the song’s use of the "two-bridge" form, deceptive cadences, plagal resolutions, and Paul McCartney’s rhythmic double-stop bass work. Special attention is given to the song’s harmonic ambiguity—especially in the B minor vs. B7 debate—and to George’s understated arpeggios buried in the mix. This session reframes “I Want to Hold Your Hand” as a masterclass in pop composition and emotional architecture.

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, powered by John Lennon’s raw vocals, Ringo’s pounding toms, and George Martin’s driving piano. Along the way, they uncover tales of lost songwriting credits, apocryphal high school musicians, and chaotic recording sessions that left their mark on both Motown and Merseybeat. Plus, Peter and Kenyon unpack the track’s lasting influence—from early punk energy to John’s conflicted attitude toward fame and fortune. This isn’t just a Beatles cover—it’s a full-circle moment linking American soul to British rock.

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 emotionally unstable chord progressions, exploring why it stands apart on With the Beatles. From the lack of George Harrison’s guitar to the unusual melodic phrasing and brooding lyrics, “Not a Second Time” feels less like a Beatles song and more like a musical outburst. They also discuss the track’s cultural afterlife—including its cameo in a Stephen King book. Was Lennon aiming for Motown, Mahler, or something uniquely his own? This episode uncovers the messy brilliance buried in a song even the Beatles seemed unsure about.

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, and the infamous “Aeolian cadence” praised by The Times critic William Mann—an observation Lennon would later mock. The lecture explores the song’s disjointed middle eight, unresolved cadences, and jarring phrase structures, asking how such an unfocused piece ended up on a Beatles album. Yet, Kenyon argues that even flawed material can reveal much about the songwriting process. Through this lens, “Not a Second Time” becomes a case study in unrealized potential, artistic intuition, and the value of editorial rigor within collaborative composition. A must-listen for those interested in artistic misfires and how they inform musical growth.

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 a haunting George Harrison-led performance. The hosts break down the Beatles’ faithful arrangement, George’s call-and-response vocal dynamics, and how the track reflects the album’s larger theme of light and shadow. They also compare the Beatles’ version with the Donays’ original, arguing the latter may even surpass the Fab Four in raw emotional power. With its dark harmonies, subtle rhythmic tricks, and eerie atmosphere, “Devil in Her Heart” reveals just how deep the Beatles dug to find hidden gems—and how those gems sometimes outshined the band themselves.

Could the Beatles really match Smokey Robinson? That’s the challenge they set for themselves with “You Really Got a Hold on Me”—and, incredibly, they just might have pulled it off. In this episode, Peter and Kenyon break down one of the most vocally demanding songs the Beatles ever attempted to cover. Originally a B-side by the Miracles, the track became a soulful highlight of With the Beatles, driven by John Lennon’s searing vocal, George Harrison’s raunchy guitar bends, and subtle backing from George Martin on piano. The hosts explore how the Beatles' version holds its own against the Motown original—reproducing its emotional power while layering in their trademark vocal blend and tight studio polish. From failed intros to overdub edits and a shelved four-track remake, they unpack every twist in the Beatles’ journey to get this one right. This isn’t just a cover—it’s a statement of intent.