A Beatles podcast where a “throwaway” closer turns into a full-on investigation with Dan Rivkin, the guy who went second-by-second through the Get Back Nagra tapes. If you’ve ever skipped “Everybody’s Trying to Be My Baby,” this episode is a serious attempt to make you hear why it matters.

We cover:

- Dan Rivkin’s Nagra-tape method and why it changed Get Back study

- Beatles for Sale’s closer, George’s vocal, and what the song is doing as an ending

- Rex Griffin vs Carl Perkins vs The Beatles: what’s actually shared and what’s not

- October 18 session details: one take, overdubs, and early STEED echo on vocal

- Storytime: the 1964 “Another Beatles Christmas Show” pantomime and the live set

Dan Rivkin's website: https://theymaybeparted.com/

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This week on our Beatles podcast, we bring in a fourth voice and it gets delightfully nerdy fast. Guest Raymond Schillinger from You Can’t Unhear This joins us to re-hear “What You’re Doing” like it is hiding in plain sight.

We cover:

- Why “What You’re Doing” feels like a throwaway song

- The song’s girl group fingerprints in the call and response vocals

- The bass fill at the end, maybe the first time the Beatles had one

- Recording breakdown: the September 1964 sessions

- Seltaeb, NEMS, Stramsact, the lawsuit, and the merch money fallout

Raymond's Youtube channel: https://www.youtube.com/@YouCantUnhearThis

Website: https://www.notebynoteseries.com

Patreon: https://www.patreon.com/cw/NoteByNoteSeries

Instagram: https://www.instagram.com/notebynoteseries

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In this Beatles Lecture Series episode, Kenyon argues that “What You’re Doing” is less a breakup complaint than a song about powerlessness, where the core question is not why it hurts, but what is even being done to you. You will start hearing how the lyric framing, the repeated phrasing, and even the band’s stylistic choices work together to make that confusion feel like the point.

Website: https://www.notebynoteseries.com

Patreon: https://www.patreon.com/cw/NoteByNoteSeries

Instagram: https://www.instagram.com/notebynoteseries

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In this Beatles podcast episode, we argue “I Don’t Want To Spoil The Party” only works because every Beatle leaves a crucial fingerprint. With special guest Dr. Terry Hamblin, we hear the song as a full-band fusion, not just a “John song.”

We cover:

- Songwriting origins on the 1964 North American tour and the country western frame

- The September 29, 1964 session and the nine takes vs nineteen takes confusion

- A debated vocal mystery and a Beatles first

- Musical fingerprints: flat seven movement, the middle eight, Ringo’s toms, and George’s solo

- Storytime on 1964 live TV performances, including Blackpool Night Out, Shindig, and Not Only...But Also

Website: https://www.notebynoteseries.com

Patreon: https://www.patreon.com/cw/NoteByNoteSeries

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In this Beatles Lecture Series episode, you’ll hear “I Don’t Want to Spoil the Party” as an early moment where Lennon’s usual hurt-and-retaliate script gets quietly rewritten into something more adult, centered on the blunt turn of “I still love her.” Kenyon argues the music backs that up by dodging the neat, satisfying landing you expect and letting a more confident lead line reshape the mood, so the whole song feels like a story that refuses to be finished.

Website: https://www.notebynoteseries.com

Patreon: https://www.patreon.com/cw/NoteByNoteSeries

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Every Little Thing is a Paul McCartney song that could fool you into thinking it is a John song, especially with John’s voice so forward in the verses. In this Beatles podcast episode of Note By Note, Peter, Kenyon, Josh, and guest TJ Byrnes break down the timpani punch, the Anthology 4 takes, and why this deep cut never quite plays by pop rules.

We cover:

- Recording sessions, the redo, and what Anthology 4 reveals in takes 6–7

- Timpani as a claimed Beatles first, the piano credit debate, and the AKG D19 C drum mic switch

- How it gets compared to What You’re Doing and the shift to arranged guitar solos

- 1964 UK tour storytime, including the mid-tour nine-hour EMI session

TJ Byrnes Youtube channel: https://www.youtube.com/channel/UCaqdTns-CVdVUMSk7xBhhmw

Website: https://www.notebynoteseries.com

Patreon: https://www.patreon.com/cw/NoteByNoteSeries

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In this Beatles Lecture Series episode, Kenyon argues that Every Little Thing never fully settles, like it keeps dodging the clean landing you expect from a Beatles love song. You come away hearing the whole track as intentionally unresolved, both in the melody and the chord changes.

Website: https://www.notebynoteseries.com

Patreon: https://www.patreon.com/cw/NoteByNoteSeries

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On this Beatles podcast episode of The Beatles Note by Note, we start with Honey Don’t and end up in some surprisingly detailed territory. If you like songwriting context, studio specifics, and a few 1964 detours that explain why certain songs stuck, this one is for you.

We cover:

- Where Honey Don’t came from, and how the Beatles folded it into their live set before giving it to Ringo

- The last Beatles for Sale recording session and how quickly they put the track together

- A version-by-version compare: Carl Perkins, the Beatles, and John’s Plastic Ono Band jam

- Ringo’s 1964 tonsil surgery story and the strange press attention around it

- The “Ringo for President” campaign and what it said about youth culture at the time

Website: https://www.notebynoteseries.com

Patreon: https://www.patreon.com/cw/NoteByNoteSeries

Instagram: https://www.instagram.com/notebynoteseries

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A Buddy Holly deep cut turns into a surprisingly big conversation in this Beatles podcast episode. With guest Chris McGovern, also known as the Gen X Muse, we dig into why “Words of Love” hits so differently on Beatles for Sale.

We cover:

- What Buddy Holly meant to the Beatles

- Who may or may not be singing

- The packing case Ringo plays

- The recording session details

- A retrospective of Brian Epstein's youth

The Gen-X Muse: https://creators.spotify.com/pod/profile/chris-h-mcgovern

Website: https://www.notebynoteseries.com

Patreon: https://www.patreon.com/cw/NoteByNoteSeries

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You would not expect a psychoanalyst to pick Eight Days a Week as the song to talk about, but once he explains why, it clicks. In this Beatles podcast episode, we dig into why their newest hit at the time still feels like an intentional throwback, with little “odd” details that make it more interesting the longer you listen.

We cover:

- Who actually wrote it, and where the title “Eight Days a Week” may have come from

- The intro they could not get right, and why the released version fades in

- The musical move that makes the song feel slightly unresolved (in a good way)

- How and why it became a U.S. #1 single, plus the Beatles for Sale EP context

- A quick Help! pre-production storytime: “Eight Arms to Hold You” and how the film got its final shape

Website: https://www.notebynoteseries.com

Patreon: https://www.patreon.com/cw/NoteByNoteSeries

Instagram: https://www.instagram.com/notebynoteseries

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