What happens when an underground Twin Cities hip hop veteran picks the softest song on Beatles for Sale as his favorite track on the album?

On this episode we bring in our old friend Alexei, known as Crescent Moon from Kill the Vultures and Mixed Blood Majority, to talk about why I’ll Follow the Sun hits him so hard. We get into his path from early Minneapolis hip hop crews to folk duos busking Dylan style, and how that journey opened the door to the Beatles.

We cover:
- The wild origin of the song, written by Paul at 16 while sick at home
- The stripped down “bedroom pop” feel of the Beatles’ recording, complete with Ringo drumming on his knees
- Bad covers of the song
- A cursed 7-Up slogan during the "Uncola" campaign

In this episode of our Beatles podcast, we invite music critic and musician Giggens into the room to help us pick apart why this cover still hits like a shot of adrenaline. Let's take Rock and Roll Music and make it Beatles. We kick off with our usual on-mic chaos, then settle into the fun stuff: how we frame a song, what we listen for, and why John’s full-throttle vocal changes the game. Along the way we test the line between rock and roll and rock, talk pacing and sequencing on Beatles For Sale, read period liner notes out loud, and let Giggens weigh the musician brain against the critic brain. It is playful, fast, and very us. No spoiler-y deep dives, just the energy of a barn burner, a few ridiculous jokes, and an honest, punchy verdict at the end. If you like hearing passionate people argue about what makes a performance work, this one’s for you.

This week on our Beatles podcast, we cover “Baby’s in Black”, not just a normal track on Beatles for Sale. It’s a doorway. Peter and Kenyon step through it and bring listeners along, mixing storytime with close listening and a lot of spirited back-and-forth. They trace a line from early Hamburg nights and an art-school circle to a song that feels old and new at the same time, then dig into why that mood fits this moment in the album. You’ll hear them puzzle out who carries the tune when two voices move as one, why this waltz feel hits differently, and how a few studio choices shaped what we now hear. If you like episodes where the conversation changes how the song lands, this one’s for you. Come for the harmonies, stay for the way longing and loss thread through the whole thing.

This week on our Beatles podcast, we dive into “I’m a Loser” with Kenyon, Peter, and special guest Abby Devoe. The trio explores how the song feels and what it does. They frame “I’m a Loser” as a bold statement in peak Beatlemania, talk about how vulnerability reads as power, and trace the way the track announces a new voice in John’s writing. Abby brings her fashion and culture lens, then jumps into a playful “Beatles à la mode” tour of early looks, tailoring, and boots, connecting style to sound and attitude. You’ll hear how the hosts set the table with just enough songwriting and recording context to ground the chat, then pivot to impressions, performance choices, and why that opening hits like a headline. Come for the laughs, stay for the perspective shift.

This week on our Beatles podcast, we bring on Beatles content creator Skylar Moody and use “No Reply” to tell a bigger story. First, we map how new fans discover the band today, then tap Skylar’s front-row view of online fandom, the good, the bad, and the very human. We follow the song’s path from Tahiti spark to a confused “demo” on Anthology, weigh a theory about who kept time on that tape, and zoom into the finished track’s arrangement choices, overdubs, and piano accents. We place the opener on Beatles for Sale in context, ask what “deep cut” really means, and test that album’s “burnout” reputation against what we actually hear. Everyone goes out on a limb and gives a rating for their impression and close with a story about Tommy Quickly and the wider NEMS stable. No matter what you feel about the song, you're bound to find something interesting here.

We start the episode hilariously out of sync, then use “She’s a Woman” to find our groove again. Instead of reciting facts, we rebuild the track from the ground up: why the bass takes the driver’s seat, how those sharp guitar stabs act like percussion, and why the low piano line changes the feel. We zoom in on the tiny tag we both obsess over and show how the sudden shift there creates the exact jolt that keeps you replaying it. Then we step through how the session came together and what flipped a messy run into a locked final take. We compare UK and US release quirks, and we point you to a few covers worth your time without spoiling the surprises. We finish by putting real ratings on our impressions and explaining why. If you like hearing a song transform from “I think I know this” into “wait, that’s what’s happening,” this one’s for you.

This week we dive deep into one of the most pivotal records in early Beatles history, I Feel Fine. Kenyon and Peter, joined by musician Jon Blackstone, uncover the story behind the first intentional use of feedback in recorded music, tracing how a studio “mistake” became a defining Beatles innovation. The trio reconstruct the song’s evolution take by take, exploring how a simple riff turned into a landmark single and how Ringo’s rhythmic breakthrough helped shape its sound. Along the way, John shares his own history performing the song live, sparking a rich conversation about what makes it so deceptively difficult and endlessly fun. From technical breakdowns to cultural context, this episode captures that thrilling moment when the Beatles shifted from raw rockers to modern pop pioneers.

This episode steps outside the usual track-by-track format to explore The Beatles’ Story, Capitol Records’ 1964 double-LP “documentary” about the band. With historian Dr. Richard Driver, we look at how this release tried to define the Beatles for the American audience—mixing interviews, narration, and orchestral renditions with facts that were sometimes inaccurate. We trace the record’s place alongside other interview albums of the era, and how it fit into Capitol’s rush to issue product when a planned Hollywood Bowl live album fell through. The discussion reaches beyond the LP itself into questions of myth-making: how early biographies, liner notes, and media portrayals created an official story of the Beatles, and what was left out. Along the way, we connect these myths to later scholarship and even to Peter Jackson’s Get Back, asking what it means for fans and historians to keep retelling the Beatles’ story.

Peter and Gordon are back, and not just on the charts. This episode dives into “I Don’t Want to See You Again,” the third McCartney-penned single given to the duo. While it barely made a dent in the UK, it charted at #16 in the US and even got them a spot on Ed Sullivan. But how does the song hold up?

Kenyon and Peter talk about how the song plays with breakup themes we usually hear from Lennon and why it may have confused people into thinking John wrote it. We also break down the strange classical solo in the middle (maybe oboes, maybe not) and how the production differs from what the Beatles were doing at the time. There’s also a bit of storytime about fan mania, odd American press tactics, and what Paul may have been trying to prove with these “work songs” he kept passing off to friends.

We step out of A Hard Day’s Night and into the Beatles’ songwriter-for-hire mode with “It’s for You,” written for Cilla Black. We trace why Cilla wasn’t a favor but a first-call vocalist in the NEMS orbit, how George Martin chose material for her, and why Paul aimed a new song at her after “Anyone Who Had a Heart.” We cover the 1964 session with Paul at the piano, John in the room offering ideas, and Cilla shaping the take. You’ll hear how the waltz feel, key moves, and that G vs E minor tug sit alongside familiar McCartney “DNA,” yet point away from the guitar-group box. We talk chart results in the UK and US, the brief Paul demo acetate that surfaced years later, and what the song demands from a singer.

What happens when a Beatles song isn’t recorded by the Beatles? In this episode, Peter and Kenyon dive into From a Window, written by Paul McCartney and handed off to Billy J. Kramer. The duo plays musical detective, hunting for Beatles fingerprints in the arrangement, the melody, even the title itself. Along the way, they unpack Paul’s writing habits during the Asher era, the studio session that brought John and Paul into the room with Billy, and the performance quirks that make this recording feel a bit more distant than Lennon-McCartney’s usual output. There’s talk of Future Islands, old-fashioned dancing, and why some “songs they gave away” land better than others. As Kenyon argues for the craft and Peter remains slightly skeptical, the conversation becomes a thoughtful reflection on what makes a Beatles song truly feel like a Beatles song. Also, yes, there’s a microwave beef Wellington involved.

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.

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.

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.

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—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.

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.

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.

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?

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.

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.