Peter and Kenyon dive into "Bad to Me," a song written by John Lennon in 1963 and gifted to Billy J. Kramer with the Dakotas. They explore the track's origins, detailing Lennon’s songwriting process, including the rumored inspirations behind its lyrics and the distinct Buddy Holly influence. The discussion extends to the recording history, contrasting the Beatles' original demo with Billy J. Kramer with the Dakotas' produced version, and assessing how George Martin's production style shaped the final sound. Peter and Kenyon also touch on the broader context of the era, from the Beatles' relentless touring schedule to Lennon's evolving role within the band. This episode offers an engaging exploration of how a lesser-known Lennon-McCartney composition fits into the Beatles' musical evolution and provides insights into their collaborative relationships with other artists during their early years.

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In this lecture, Kenyon delves into "Bad to Me," a 1963 song written by John Lennon for Billy J. Kramer with the Dakotas. The discussion covers the song’s lyrical themes, musical structure, and Lennon's use of innovative harmonic techniques. Kenyon examines the track's Buddy Holly influences, lyrical motifs involving nature, and the unique chord progressions that set it apart from other early Beatles compositions. He contrasts the Beatles' original demo with Billy J. Kramer with the Dakotas' recorded version, exploring how subtle changes in arrangement and production by George Martin shaped the final sound. The analysis extends to Lennon's evolving songwriting style, including the influence of his personal experiences on the song's content. This lecture provides a deeper appreciation of "Bad to Me," revealing the intricacies of a song that connects the dots between the Beatles' early pop roots and their future musical experimentation.

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Peter and Kenyon dive into "I'll Be On My Way," a Beatles song written by Paul McCartney at 17 and given to Billy J. Kramer with the Dakotas. The hosts explore the song’s Buddy Holly-inspired style, lyrical themes, and unique musical elements, including its distinctive chord changes and vocal harmonies. They discuss the track's history, from its early days to the BBC recording, and compare the Beatles’ version with Kramer’s, examining the differences in interpretation and arrangement. Along the way, the episode offers insights into the Beatles’ songwriting process, early collaborations, and the cultural backdrop of the 1960s Liverpool music scene.

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Kenyon's Beatles lecture series offers an in-depth analysis of "I'll Be On My Way," a song written by Paul McCartney at age 17 and given to Billy J. Kramer and the Dakotas. This lecture explores the track's mature lyrical themes of parting and self-reflection, the influence of Buddy Holly on its musical structure, and the distinctive chord progressions that evoke a journey. Kenyon also contrasts the Beatles' minimalist BBC recording with Kramer's studio version, shedding light on how the band's arrangements evolved. With insights into the broader cultural and musical context of 1960s Liverpool, the series provides a unique perspective on the early stages of the Beatles' songwriting process. This episode reveals how the group's unfinished ideas still offered a glimpse into their emerging artistry, inviting listeners to appreciate the nuances behind one of the Beatles' lesser-known tracks.

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In this episode, Peter and Kenyon discuss "Thank You Girl," a Beatles track written by Lennon and McCartney in 1963. Originally titled "Thank You Little Girl," the song was created as a tribute to the band's fans following the success of "Please Please Me." The hosts dive into the song’s collaborative writing process, its lively harmonica overdubs performed by a sick John Lennon, and Ringo Starr's energetic drum fills. They also explore the recording techniques used by engineer Norman Smith, which marked a shift in how the Beatles' sound was captured. While "Thank You Girl" is a B-side, it holds significance as a reflection of the Beatles’ early gratitude towards their fanbase and the evolution of their recording process. Peter and Kenyon share personal reflections on the track's energy, its pop sensibilities, and its place within the Beatles’ catalog, making this a fun and insightful episode.

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In this lecture, Kenyon takes a closer look at "Thank You Girl," a 1963 Beatles track written by Lennon and McCartney. Designed as a fan tribute, this song represents the early Beatles' practice of connecting directly with their listeners. Kenyon delves into the song's straightforward lyrics and harmonic structure, focusing on the repetitive falling melodies and the textural changes that shift focus within the song. He highlights the unique recording techniques used, including John Lennon's harmonica overdub, recorded while he was ill, and Norman Smith’s early innovations in mic placement and sound separation. Though a B-side, "Thank You Girl" showcases the Beatles' evolving sound and songwriting collaboration. Kenyon’s analysis of the song's composition, structure, and arrangement offers insight into the subtle shifts that make the track memorable, while shedding light on the broader musical context in which the Beatles were working during this period.

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In this episode, Peter and Kenyon explore “From Me to You,” the Beatles’ first official number-one hit in the UK. Written by John Lennon and Paul McCartney during the Helen Shapiro tour in 1963, the song marked a turning point in their songwriting. The hosts analyze its catchy melody, bluesy harmonica, and how it deviates from the Beatles' earlier work with its darker tones and unique chord progressions. They also discuss the song's recording process, including the intricate overdubs and edits that went into crafting the final version. Delving into its chart success and the song's significance in Beatles history, Peter and Kenyon bring new insights to this classic track, offering listeners a deeper appreciation of its musical complexity and emotional depth.

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In this lecture, Kenyon takes an in-depth look at "From Me to You," a 1963 song by John Lennon and Paul McCartney. As the Beatles’ first number-one hit in the UK, the song showcases their early knack for melody and personal connection with fans. Kenyon explores the song’s structure, including its signature harmonica intro, chord progressions, and its place in the "pronoun game" used by the Beatles to engage listeners directly. He delves into the harmonic shifts, blues influences, and lyrical themes, breaking down how the song’s simplicity belies a sophisticated use of tension and release. The lecture also highlights the unique decision to end with a harmonica phrase that harkens back to the intro. With historical context and musical insights, Kenyon reveals how "From Me to You" fits into the Beatles' broader evolution and the songwriting genius that made them pioneers in pop music.

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In this episode, Peter and Kenyon dive into the electrifying "Twist and Shout." They reveal the song's origins, originally written by Phil Medley and Bert Berns and covered by the Isley Brothers before the Beatles' iconic version. Recorded as the final track during the marathon session for "Please Please Me," John's powerful vocal performance, despite a cold, is a standout. The hosts discuss the impact of John's scream, the significance of the recording session, and the song's thrilling energy, capturing the Beatles' ability to transform and energize a track.

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In this episode of The Beatles: Note by Note, Peter and Kenyon dive into "There's a Place," a track from the Beatles' debut album Please Please Me. The hosts explore the song's introspective lyrics, drawing parallels between John Lennon's emotional depth and the influence of songs like "Somewhere" from West Side Story. They discuss the song's Motown-inspired origins and its thematic connection to early Beach Boys tracks like "In My Room," highlighting Lennon's ability to craft a mental escape through music. Peter and Kenyon also reflect on the track’s "psychedelic" undertones, suggesting it foreshadows the Beatles' later exploration of transcendental meditation and altered perceptions. The episode breaks down the harmonies, led by Paul McCartney, which add an ethereal quality, and the recording process at Abbey Road Studios, noting the use of harmonica and overdubs. The hosts debate whether this could be considered the Beatles' first psychedelic lyric, underscoring the song's experimental nature despite its placement on their first album.

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