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.

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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.

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Was “Hold Me Tight” really the Beatles’ weakest link—or a hidden pivot point in their early sound? Peter and Kenyon dig into this overlooked track from With the Beatles, a song Paul McCartney began writing at age 18 and one that even John and Paul would later dismiss. But beneath its shaky reputation lies a revealing story: failed takes, scrapped sessions, and a frenzied remake that may have included the first-ever Beatles tape-speed manipulation. The hosts dissect Paul’s layered vocal performance, Ringo’s tom-heavy middle eight, and the call-and-response vocals that echo girl group influence and skiffle roots. They trace how “Hold Me Tight” bridges the Beatles’ early rock 'n' roll emulation with a more nuanced, emotionally layered sound—one hinting at their evolving ambition. Is it filler, or is it a case study in transition? This episode offers a surprisingly deep dive into one of the band’s most misunderstood recordings.

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In this lecture, Kenyon unpacks Paul McCartney’s “Hold Me Tight,” a deceptively simple track from With the Beatles that reveals deeper structural and harmonic complexity on close inspection. Though the song was often dismissed by its creators, Kenyon explores how its repeated ostinato patterns, major-minor tension, and chromatic middle eight create an unsettled, almost adolescent emotional landscape. The lecture analyzes the use of anti-phrasing, call-and-response, and tonal ambiguity—particularly the unexpected shift to A-flat major in the middle eight, a jarring move that foreshadows later Beatles experimentation. Kenyon also questions the song’s rhythmic phrasing, noting its disorienting seven-bar structure and off-kilter cadences, which mirror the lyrical uncertainty and emotional immaturity at the song’s core. Far from being a throwaway, “Hold Me Tight” serves as a window into the Beatles’ transitional period, where conventional love-song tropes meet increasingly adventurous musical instincts.

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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 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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Could Till There Was You be the Beatles’ most unexpected choice for their early setlists? A show tune from The Music Man, it stood out in their catalog—earning both praise and skepticism from fans and even John Lennon himself. In this episode, Peter and Kenyon explore how Paul McCartney discovered the song through Peggy Lee’s jazz-infused version and why he insisted on including it in their performances. The hosts break down George Harrison’s intricate classical-inspired guitar work, Paul’s refined vocal delivery, and the song’s pivotal role in impressing George Martin at the Beatles' Decca audition. They also discuss how Brian Epstein strategically used Till There Was You to showcase the band’s versatility in high-profile performances, including the Royal Command Performance. A rare moment of theatrical elegance in the Beatles’ early years, this episode unpacks how the song helped shape their career and their ability to transcend genres.

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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 analyzes Little Child, a track from With the Beatles that began as a rejected Ringo Starr vocal before becoming one of the album’s most relentless rockers. Despite its simplicity, the song presents intriguing rhythmic and harmonic elements that set it apart from other early Beatles compositions. Kenyon examines its insistent triplet phrasing, harmonica-driven texture, and its lack of conventional song structure, leading to a sense of musical monotony that contrasts with the Beatles' usual dynamic approach. The lecture explores the peculiar lyrical choices, particularly the repeated use of "little child," and how cultural context may have shaped its phrasing. Additionally, Kenyon dissects the harmonic structure, noting the secondary dominants and jazz-inspired turnaround that hint at Lennon’s growing musical ambition. Through critical analysis, this lecture unpacks Little Child as both a curious outlier and a revealing study in the Beatles’ songwriting process.

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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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