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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In this lecture, Kenyon examines "I'm in Love," a 1963 John Lennon composition that was given to the Fourmost rather than being recorded by the Beatles themselves. The session explores the song’s lyrical evolution, including its original refrain “I’m So Glad,” and how the eventual lyric choices deepened its emotional impact. Kenyon delves into the song’s harmonic structure, with its ambiguous tonal centers and progressive ostinato, illustrating how Lennon used repetitive melodic lines to create continuity while the chords shifted beneath. The lecture also highlights the interplay between the Fourmost’s polished recording style and the raw emotionality of Lennon’s piano demo. By focusing on these compositional elements and the broader historical context, Kenyon reveals how “I’m in Love” bridges the Beatles’ innovative early years with their ability to craft material for other artists, providing a rich study in creative generosity.

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Peter and Kenyon explore "I Wanna Be Your Man," a pivotal 1963 Beatles song co-written by Lennon and McCartney and famously recorded by both the Beatles and the Rolling Stones. Written in just minutes to fulfill a request from the Stones for a new single, the song marked an important collaboration and rivalry between the two bands. The hosts dive into the Beatles’ version, sung by Ringo Starr, with its distinctive bluesy drive and layered production. They also examine how the Rolling Stones made the song their own, adding raw energy and a slide guitar solo by Brian Jones. The episode delves into the recording sessions, including George Martin’s contributions, and the song's unique use of chromaticism and rhythmic drive. With fascinating stories about its creation and insights into its cultural impact, Peter and Kenyon uncover how "I Wanna Be Your Man" shaped the paths of both iconic bands.

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In this lecture, Kenyon dives into "I Wanna Be Your Man," the Beatles track written by Lennon and McCartney and performed by both the Beatles and the Rolling Stones in 1963. The session explores the song’s simple, blues-inspired structure and its playful approach to romantic lyrics. Kenyon dissects the unique musical features, including its circular chord progressions and chromatic slides, and highlights how Ringo Starr’s energetic vocal performance sets the tone for the Beatles’ version. The lecture also compares the raw, slide-guitar-driven Rolling Stones interpretation, providing insights into how the two bands adapted the song for their distinct styles. Kenyon examines the song’s historical significance as a collaboration between the Beatles and the Stones, a moment that underscored their mutual respect and friendly rivalry. Through detailed analysis, this session uncovers the subtle complexities of "I Wanna Be Your Man" and its place in early rock history.

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Peter and Kenyon dive into "I'll Keep You Satisfied," a song written by Paul McCartney in 1963 for Billy J. Kramer with the Dakotas. The track showcases McCartney’s melodic craftsmanship during the Beatles’ peak songwriting era, blending heartfelt lyrics with catchy hooks and a lively rhythm. The hosts discuss the song’s origins, written as part of Lennon and McCartney’s efforts to provide hits for other artists managed by Brian Epstein. They analyze its dynamic chord progressions, uplifting message, and Billy J. Kramer’s performance style, which brought McCartney’s vision to life. Additionally, Peter and Kenyon reflect on the broader context of the Beatles’ collaborative approach to songwriting at the time and the creative rivalry that pushed both Lennon and McCartney to continually outdo each other. This episode offers insights into how "I'll Keep You Satisfied" fits into the Beatles’ legacy and their role as pop music innovators.

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In this lecture, Kenyon examines "I'll Keep You Satisfied," a 1963 song written by Paul McCartney for Billy J. Kramer with the Dakotas. Exploring the lyrics, Kenyon describes the song as a confident yet straightforward romantic pitch, with simple rhymes and repetitive phrasing that reflect McCartney’s early pop sensibilities. The analysis dives into the harmonic structure, emphasizing its jazz-influenced ii-V-I progressions and a ragtime-inspired four-to-minor-four progression. Kenyon also highlights the pentatonic melody, which lends the song an easy-to-sing quality characteristic of McCartney’s early writing. He critiques the static middle eight, pointing out its lack of harmonic relief and melodic innovation compared to McCartney’s later work. Through detailed musical and lyrical analysis, Kenyon illustrates how "I'll Keep You Satisfied" showcases McCartney’s evolving songwriting while serving as a testament to the Beatles’ efforts to craft hits for other artists, marking a unique moment in their early career.

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Peter and Kenyon dive into "Love of the Loved," a song written by Paul McCartney in 1959 during his Quarrymen days and later performed at the Beatles’ Decca audition in 1962. The track reflects McCartney’s early compositional style, blending melodic sophistication with heartfelt emotion. The hosts discuss the song’s journey, from an unreleased Beatles recording to a 1963 single by Liverpool’s own Cilla Black, produced by George Martin. They explore the song’s unique musical elements, such as its descending melodic motif and unusual chord transitions, alongside McCartney’s Elvis-inspired vocal delivery. The episode delves into the cultural and historical context of the track, highlighting its role in Brian Epstein’s management strategy and its connection to the Beatles’ pivotal Decca audition. With sharp analysis and engaging anecdotes, Peter and Kenyon unpack the story behind a lesser-known yet significant early Beatles composition.

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In this lecture, Kenyon delves into "Love of the Loved," a Paul McCartney composition written during the pre-Beatles Quarrymen days. The session examines how McCartney’s early songwriting instincts blend heartfelt lyrics with sophisticated harmonic techniques. Kenyon explores the song’s structure, highlighting its dynamic interplay between the keys of E and G, a progressive ostinato that evolves through the melody, and the use of chromatic shifts to add emotional depth. The analysis compares the Beatles’ early demo with Cilla Black’s polished 1963 release, produced by George Martin, focusing on differences in arrangement, instrumentation, and performance. Kenyon also reflects on McCartney’s recurring motifs, such as rain symbolizing sadness and resolution, as well as his ability to craft memorable patterns. This lecture offers a detailed study of how "Love of the Loved" bridges McCartney’s early songwriting experiments with the more refined techniques that would define the Beatles’ later success.

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Peter and Kenyon analyze "Hello Little Girl," the first song John Lennon ever wrote, penned at age 16 in 1957. Originally inspired by his mother’s favorite 1930s tune, the song reflects Lennon’s early melodic instincts and storytelling abilities. The hosts explore its journey from a home demo with Stu Sutcliffe on bass to the Beatles’ Decca audition and its eventual release by the Fourmost in 1963. They delve into the song’s unconventional structure, including its unique dual middle-eight sections, and how it compares to Lennon’s later, more polished compositions. The episode also highlights the Fourmost’s cabaret-style origins and their role in bringing the song to the charts. With its catchy melodies and youthful charm, "Hello Little Girl" showcases Lennon’s emerging songwriting talent and provides an intriguing glimpse into the Beatles’ formative years.

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