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.

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.

In this packed episode of The Beatles: Note by Note, Kenyon, Peter, and Justin dive deep into the song “A Hard Day’s Night.” They unravel the song's hectic creation on April 13, 1964, when Lennon famously wrote it overnight, transferring lyrics from a matchbox to the back of his son's birthday card. The trio dissects the instantly iconic opening chord, recreates its harmonic layers live on the podcast, and credits journalist Maureen Cleave for influencing the final lyric: “I find the things that you do will make me feel all right.” You'll also hear how director Richard Lester pressured the band to “play more cinematically” and how George Martin used a tack piano known as the “Mrs. Mills piano” to create that unforgettable solo. With personal stories, technical breakdowns, and musical humor, this is your all-access pass to the origin of one of the Beatles’ most explosive tracks.

A Hard Day’s Night wasn’t just the Beatles’ first film—it was a cinematic reset button for the music movie. In this episode, Peter, Kenyon and special guest Stephen explore how Richard Lester’s direction, Alun Owen’s script, and the band’s own instincts combined to create a kinetic, irreverent, and deeply influential piece of pop art.

From surreal cutaways to handheld camera work, the film captured the chaos of Beatlemania while also mythologizing it. We examine how it introduced character tropes still associated with the Beatles today (Paul’s “clean” image, Ringo’s melancholy, George’s sarcasm), and how its style shaped everything from Help! to Spinal Tap.

We also look at how United Artists’ commercial motives accidentally led to something timeless—and how the Beatles, often underplayed as actors, bring the script to life through pure charm and rhythm. A Hard Day’s Night may be rooted in 1964, but it still feels modern.

Originally a Carl Perkins B-side, Matchbox became a showcase for Ringo Starr during the Beatles’ whirlwind studio sessions of mid-1964. In this episode, we explore why Ringo was chosen to sing this rockabilly relic, how it fits within the band’s American roots influences, and the peculiar circumstances surrounding its recording.

With George Harrison on lead guitar and producer George Martin himself playing piano, the session was slapped together in between tour rehearsals and studio catch-up. Ringo’s vocal is energetic but limited, and the track’s historical significance often outweighs its musical punch.

We also discuss the broader role of “Ringo songs” during this period and how Matchbox helped solidify his image as the affable, everyman Beatle—even when the material was beneath the band’s usual standards. It’s a minor track, but a meaningful glimpse into the Beatles’ live-driven momentum in 1964.

“Slow Down” might be credited to The Beatles, but this cover of a Larry Williams B-side reveals more about the band’s limitations than their strengths. In this episode, we take a close listen to John Lennon’s vocal delivery—raw, impassioned, and unsteady—and question how this track ended up released at all.

We explore the hurried recording process, George Martin’s unusually hands-off approach, and the unflattering final mix that left Lennon audibly straining to keep up with the tempo. It’s not just a technical mess—it’s a philosophical one too, raising questions about artistic control, band fatigue, and the group’s growing pains in 1964.

Still, the track serves as an authentic moment in Beatles history. “Slow Down” captures the chaos of their rise and the human edge of Lennon’s rock-and-roll obsession. It’s imperfect, but telling—and we’re here for the story behind it.

Before The Beatles were a household name, before “Love Me Do,” there was Like Dreamers Do—a teenage composition by Paul McCartney that became one of their earliest calling cards. In this episode, we explore the song’s unusual journey through the Decca audition and into the EMI offices, where it played a quiet but crucial role in landing the Beatles their deal with Parlophone.

We also look at the overlooked role of George Martin—not just as a producer, but as a man navigating a personal crisis. His affair with secretary Judy Lockhart Smith and his tense position at Parlophone intersected with the band’s arrival in surprising ways.

Through early demos, context from the Merseybeat scene, and a discussion about Paul’s songwriting at the time, we trace how Like Dreamers Do helped turn possibility into destiny—even if the band never officially released it during their prime.

Join hosts Peter and Kenyon for an in-depth look at “Nobody I Know,” the follow-up to Peter and Gordon’s breakout hit “A World Without Love.” Written by Paul McCartney specifically for Peter Asher, this track offers a glimpse into Paul’s early experiments in songwriting for others — and perhaps ghostwriting altogether. We explore the class dynamics behind Peter and Gordon’s image, dissect the Tin Pan Alley and Baroque pop stylings of the track, and debate whether this song could have ever been a Beatles tune. Plus: how this track fits into the broader cultural moment of Swinging London and what it tells us about Paul’s creative influences at the time.

In this episode, Peter and Kenyon dive deep into one of the most obscure Lennon-McCartney tracks: “One and One Is Two.” Originally written for Billy J. Kramer, the song was ultimately passed down a surprising chain—from the Fourmost to a forgotten band known as The Strangers with Mike Shannon, who recorded the only released version. But who were they? Through sharp storytelling and meticulous research, the hosts uncover a fascinating tale that stretches from Liverpool to Rhodesia (now Zimbabwe), shedding light on a mysterious group and the unlikely journey of a discarded Beatles composition. They also explore the upcoming Beatles biopics, Paul McCartney’s demo magic, and the role of early Beatles photographer Dezo Hoffman. As always, expect a blend of music theory, Beatles lore, and unexpected history lessons in this affectionate look at a song almost lost to time.

The Beatles may have written hits by the dozen, but when it came to raw vocal power, they turned to “Long Tall Sally.” In this episode, Peter and Kenyon examine how Paul McCartney tackled Little Richard’s blistering classic and made it his own. From the song’s gospel-tinged triplets to McCartney’s throat-shredding vocal performance, this cover became a defining moment in Beatles live sets—often saved for their explosive finales. The hosts explore the band’s deep reverence for American R&B, the subtle modifications they made to the original arrangement, and how the recording captured their ability to walk the line between homage and transformation. With a spotlight on the blistering guitar solo, relentless tempo, and the song’s pivotal role in the Beatles’ stagecraft, this episode unpacks what made “Long Tall Sally” one of their most electrifying—and enduring—covers.

The Beatles wrote dozens of love songs—but “You Can’t Do That” is all jealousy, threat, and menace. In this episode, Peter and Kenyon unpack John Lennon’s ferocious 1964 track, a surprisingly harsh B-side to the exuberant “Can’t Buy Me Love.” The hosts explore how Lennon channels emotional volatility through biting lyrics, raw vocal delivery, and a snarling lead guitar part that George Harrison devised with a newly acquired Rickenbacker 12-string. They delve into the song’s modal blues influences, subtle key ambiguities, and its use of stop-time syncopation in the verses—a rhythmic tension that mirrors the song’s lyrical unease. The conversation also touches on the song’s live arrangements, early mixes, and the moment when Paul’s high harmony nearly outshines the lead vocal. “You Can’t Do That” may not be a Beatles chart-topper, but in this episode, it gets the spotlight as one of their most emotionally charged early recordings.

It sold 2 million copies in a day and knocked America off its feet—but was “Can’t Buy Me Love” the beginning of the end for the Beatles’ greatest songwriting era? In this episode, Peter and Kenyon dissect the band’s first true solo-credited hit, where Paul McCartney goes it alone vocally and compositionally, breaking the “eyeball to eyeball” method that had defined Lennon-McCartney’s early work. The duo explores the track’s Paris hotel origins, its 12-bar blues structure, and George Martin’s now-iconic chorus-as-intro innovation. They also cover George Harrison’s first truly great solo, Geoff Emerick’s surprise engineering debut, and the stereo hi-hat overdub secretly performed by producer Norman Smith. From Ella Fitzgerald’s same-year cover to the infamous Paris residency that birthed the song, this episode unpacks both the musical brilliance and behind-the-scenes tension of a record that signaled a changing tide in the Beatles’ dynamic—and history.