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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In this lecture, Kenyon takes a detailed look at George Harrison’s songwriting debut with "Don’t Bother Me," from With the Beatles. Written during a bout of illness in a Bournemouth hotel room, the track showcases Harrison’s unique perspective, focusing less on heartbreak and more on isolation and frustration. Kenyon examines the song’s harmonic ambiguity, highlighting its blend of Dorian and Aeolian modes, and how its use of unconventional chord choices reflects Harrison’s experimentation. The session also explores the rhythmic complexity, with Latin-inspired percussion and George’s melodic phrasing, which outlines the pentatonic scale in fresh ways. Kenyon discusses how the song’s introverted themes and curmudgeonly tone differ from Lennon-McCartney’s approach, offering early insights into Harrison’s emerging voice as a songwriter. This lecture provides a comprehensive analysis of "Don’t Bother Me," revealing its place as a pivotal moment in Harrison’s artistic journey and the Beatles’ evolving sound.

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What makes “All My Loving” the song that signaled a shift in the Beatles' dynamic? In this episode, Peter and Kenyon dive into Paul McCartney’s first major contribution to the Beatles’ catalog, written during a tour bus ride in 1963. The song marked a turning point as McCartney's melodic genius began to rival Lennon’s dominance. With influences ranging from country and western to pop balladry, the track introduced signature elements like John Lennon’s relentless triplet rhythm guitar and George Harrison’s Nashville-inspired solo. The hosts also explore how "All My Loving" became a cultural phenomenon, despite never being released as a single, with performances on The Ed Sullivan Show helping to ignite Beatlemania in the United States. Packed with surprising insights, this episode highlights the song's pivotal role in shaping the Beatles’ legacy and offers a fresh look at one of their most beloved tracks.

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In this lecture, Kenyon explores "All My Loving," one of Paul McCartney’s standout tracks from With the Beatles. The session delves into the song’s unique blend of emotional resonance and technical sophistication, beginning with its 32-bar form and seamless integration of A and B sections. Kenyon highlights McCartney’s innovative bassline, which employs a walking pattern to create dynamic counterpoint with the melody, and examines John Lennon’s relentless triplet rhythm guitar, which lends the song its distinctive driving energy. The discussion extends to the harmonic structure, focusing on McCartney’s use of a flat-seven chord and descending thirds to evoke a sense of longing amidst the song’s upbeat tempo. By analyzing the lyrics, Kenyon uncovers the thematic interplay of anticipation and devotion, positioning "All My Loving" as a defining example of McCartney’s early mastery of songwriting. This lecture provides a deep dive into one of the Beatles’ most iconic love songs.

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Although "It Won’t Be Long" kicks off With the Beatles with a jolt of energy and ambition, "All I’ve Got to Do" takes a quieter, more introspective approach, marking a surprising tonal shift. Written by John Lennon and inspired by Smokey Robinson and the Miracles, this track was one of the earliest Beatles songs to experiment with emotional vulnerability and minimalistic arrangements. Peter and Kenyon explore the song's sparse yet impactful instrumentation, Lennon's unadorned vocal delivery, and the intriguing harmonic shifts that lend the track its brooding atmosphere. They also discuss how the song’s use of "call and response" hints at the band’s deepening understanding of soul and R&B traditions. Despite being overshadowed by other tracks on the album, "All I’ve Got to Do" offers a fascinating study in restraint and raw emotion, revealing a side of the Beatles that feels both deeply personal and musically innovative.

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In this lecture, Kenyon explores "All I’ve Got to Do," an introspective track from With the Beatles. Written by John Lennon, the song combines soulful simplicity with sophisticated musical elements, revealing the Beatles’ growing artistic depth. Kenyon examines its unique structural features, such as the interplay between a darker, introspective A section and an uplifting middle eight, each representing contrasting emotional states. He delves into the song’s harmonic shifts between E major and C-sharp minor, its use of progressive ostinato, and Lennon’s hallmark techniques like appoggiaturas and the Lennon triple. The lecture also highlights the cultural context, including the intentional inclusion of American references like the telephone to appeal to transatlantic audiences. By analyzing Lennon’s melodic phrasing, harmonic choices, and lyrical themes, Kenyon uncovers the nuanced craftsmanship behind this understated gem. This session offers a deeper appreciation of how "All I’ve Got to Do" balances vulnerability with musical sophistication.

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What if the Beatles had chosen "It Won't Be Long" as a single instead of "I Want to Hold Your Hand"? Peter and Kenyon dive into this electrifying album opener, examining its sophisticated use of unusual chord progressions, lyrical wordplay, and high-energy performance. The song captures a transitional moment for the Beatles as they began blending rock and roll vigor with more nuanced compositional techniques. The hosts explore the challenges of its recording process, including John Lennon’s vocal intensity and George Harrison’s precise guitar work. They also touch on the song's historical significance, marking the Beatles' move toward wider critical acclaim and their burgeoning maturity as musicians. Packed with fun anecdotes and keen insights, this episode uncovers how "It Won’t Be Long" sets the tone for With the Beatles and reflects the band’s rapid evolution.

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In this lecture, Kenyon unpacks "It Won’t Be Long," the electrifying opening track of With the Beatles. The session explores the song’s innovative structural ambiguity, examining how Lennon and McCartney blend elements of 32-bar form with distinct sections to craft a high-energy narrative. Kenyon highlights the song’s harmonic complexity, from its surprising use of C major and chromatic descents to its playful exploration of appoggiaturas—a Lennon hallmark. The lecture dives into the lyrical wordplay, such as the double meaning of "It won’t be long till I belong to you," which mirrors techniques seen in earlier singles like "Please Please Me." Kenyon also examines how the song’s antiphonal "yeah, yeah, yeah" responses echo the success of "She Loves You" while adding fresh energy. This deep analysis reveals "It Won’t Be Long" as a pivotal track in the Beatles’ evolution, showcasing their growing confidence as both composers and performers.

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John Lennon believed "I'm in Love" could be a hit—but not for the Beatles. Instead, the 1963 track was handed off to the Fourmost, offering a glimpse into the Lennon-McCartney machine’s remarkable output during their peak years. Peter and Kenyon explore the song’s bittersweet lyrics, unusual rhythmic phrasing, and its distinctive descending chord sequence, which hints at the Beatles’ early flirtation with complexity. The hosts discuss the differences between Lennon’s original piano demo—raw and emotional—and the Fourmost’s polished cabaret interpretation, revealing how the song’s essence shifted across versions. Along the way, they uncover anecdotes about the Beatles’ generosity toward other artists and the strategic decisions behind giving away songs. Tune in to hear how “I’m in Love” exemplifies Lennon’s gift for blending pop sensibility with emotional resonance, even in a track the Beatles never claimed for themselves.

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