EP051 - Matchbox

Originally a Carl Perkins B-side, Matchbox became a showcase for Ringo Starr during the Beatles’ whirlwind studio sessions of mid-1964. In this episode, we explore why Ringo was chosen to sing this rockabilly relic, how it fits within the band’s American roots influences, and the peculiar circumstances surrounding its recording.</p><br />With George Harrison on lead guitar and producer George Martin himself playing piano, the session was slapped together in between tour rehearsals and studio catch-up. Ringo’s vocal is energetic but limited, and the track’s historical significance often outweighs its musical punch.</p><br />We also discuss the broader role of “Ringo songs” during this period and how Matchbox helped solidify his image as the affable, everyman Beatle—even when the material was beneath the band’s usual standards. It’s a minor track, but a meaningful glimpse into the Beatles’ live-driven momentum in 1964.</p><hr /><p style="color: grey; font-size: 0.75em;"> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer" style="color: grey;" target="_blank">acast.com/privacy</a> for more information.</p>

01:11:35

EP050 - Slow Down

“Slow Down” might be credited to The Beatles, but this cover of a Larry Williams B-side reveals more about the band’s limitations than their strengths. In this episode, we take a close listen to John Lennon’s vocal delivery—raw, impassioned, and unsteady—and question how this track ended up released at all.</p><br />We explore the hurried recording process, George Martin’s unusually hands-off approach, and the unflattering final mix that left Lennon audibly straining to keep up with the tempo. It’s not just a technical mess—it’s a philosophical one too, raising questions about artistic control, band fatigue, and the group’s growing pains in 1964.</p><br />Still, the track serves as an authentic moment in Beatles history. “Slow Down” captures the chaos of their rise and the human edge of Lennon’s rock-and-roll obsession. It’s imperfect, but telling—and we’re here for the story behind it.</p><hr /><p style="color: grey; font-size: 0.75em;"> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer" style="color: grey;" target="_blank">acast.com/privacy</a> for more information.</p>

01:03:13

EP049 - Like Dreamers Do

Before The Beatles were a household name, before “Love Me Do,” there was Like Dreamers Do—a teenage composition by Paul McCartney that became one of their earliest calling cards. In this episode, we explore the song’s unusual journey through the Decca audition and into the EMI offices, where it played a quiet but crucial role in landing the Beatles their deal with Parlophone.</p><br />We also look at the overlooked role of George Martin—not just as a producer, but as a man navigating a personal crisis. His affair with secretary Judy Lockhart Smith and his tense position at Parlophone intersected with the band’s arrival in surprising ways.</p><br />Through early demos, context from the Merseybeat scene, and a discussion about Paul’s songwriting at the time, we trace how Like Dreamers Do helped turn possibility into destiny—even if the band never officially released it during their prime.</p><hr /><p style="color: grey; font-size: 0.75em;"> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer" style="color: grey;" target="_blank">acast.com/privacy</a> for more information.</p>

01:11:13

LS049 - Like Dreamers Do - Lecture Series (bonus)

In this lecture, we dive into Paul McCartney’s early composition Like Dreamers Do, exploring its melodic construction, lyrical themes, and musical architecture as performed by the Applejacks. The song unfolds a romantic narrative of longing and fulfillment, using circular, self-referential pronouns and repeating motifs to reflect the dreamlike anticipation of meeting “the girl in my dreams.” We analyze how McCartney’s phrase structures play with identity and immersion, creating patterns that anchor the listener in the song’s emotional arc. Melodically, the track expands outward before returning home, breaking conventions found in Paul’s other early works. Harmonically, the lecture examines deceptive cadences, modal shifts, and Paul’s preference for show-tune-style II–V–I progressions over typical rock clichés. We also discuss form and rhythmic texture, including the Beatles’ signature use of syncopated “3-3-2” phrasing. This song may be structurally flawed, but it showcases Paul’s early genius—and offers rich insights for aspiring songwriters.<hr /><p style="color: grey; font-size: 0.75em;"> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer" style="color: grey;" target="_blank">acast.com/privacy</a> for more information.</p>

00:35:39

EP048 - Nobody I Know

Join hosts Peter and Kenyon for an in-depth look at “Nobody I Know,” the follow-up to Peter and Gordon’s breakout hit “A World Without Love.” Written by Paul McCartney specifically for Peter Asher, this track offers a glimpse into Paul’s early experiments in songwriting for others — and perhaps ghostwriting altogether. We explore the class dynamics behind Peter and Gordon’s image, dissect the Tin Pan Alley and Baroque pop stylings of the track, and debate whether this song could have ever been a Beatles tune. Plus: how this track fits into the broader cultural moment of Swinging London and what it tells us about Paul’s creative influences at the time.<hr /><p style="color: grey; font-size: 0.75em;"> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer" style="color: grey;" target="_blank">acast.com/privacy</a> for more information.</p>

01:00:14

LS048 - Nobody I Know - Lecture Series (bonus)

In this Beatles Lecture Series episode, Kenyon offers a critical musicological analysis of “Nobody I Know,” written by Paul McCartney and performed by Peter and Gordon. Though it charted in 1964, the song is marked by lyrical vagueness, structural flatness, and harmonic awkwardness. Kenyon unpacks the song’s root–seventh melodic motif, a classical-sounding line reminiscent of Für Elise, and how its rhythmic monotony undercuts its emotional impact. Special attention is given to the song’s middle eight, which offers rare harmonic relief and syncopation. The analysis touches on the use of flat VII chords as functional substitutes, parallel octaves, and why the modulation to C♯—while bold—fails to mask deeper melodic issues. Though the song gestures toward romantic timelessness, its lack of thematic development and musical tension leave it sounding more like a “work song” than a finished piece. Kenyon argues it’s a curious outlier, offering insight into McCartney’s songwriting evolution.<hr /><p style="color: grey; font-size: 0.75em;"> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer" style="color: grey;" target="_blank">acast.com/privacy</a> for more information.</p>

00:35:03

EP047 - One And One Is Two

In this episode, Peter and Kenyon dive deep into one of the most obscure Lennon-McCartney tracks: “One and One Is Two.” Originally written for Billy J. Kramer, the song was ultimately passed down a surprising chain—from the Fourmost to a forgotten band known as The Strangers with Mike Shannon, who recorded the only released version. But who were they? Through sharp storytelling and meticulous research, the hosts uncover a fascinating tale that stretches from Liverpool to Rhodesia (now Zimbabwe), shedding light on a mysterious group and the unlikely journey of a discarded Beatles composition. They also explore the upcoming Beatles biopics, Paul McCartney’s demo magic, and the role of early Beatles photographer Dezo Hoffman. As always, expect a blend of music theory, Beatles lore, and unexpected history lessons in this affectionate look at a song almost lost to time.<hr /><p style="color: grey; font-size: 0.75em;"> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer" style="color: grey;" target="_blank">acast.com/privacy</a> for more information.</p>

01:06:34

LS047 - One And One Is Two - Lecture Series (bonus)

Welcome to the Beatles Lecture Series, where Kenyon unpacks the hidden layers of even the most overlooked entries in the Lennon–McCartney catalog. In this episode, we explore “One and One is Two,” a discarded McCartney composition ultimately recorded by The Strangers with Mike Shannon. Kenyon examines the lyrical inconsistency, the unrequited-love theme, and the rushed nature of its composition—all signs of a quick commission for Billy J. Kramer. From a harmonic perspective, the lecture focuses on pentatonic phrasing, modal contrasts, and Paul’s surprising use of C minor7 over expected major chords. The result? A charming yet structurally flimsy tune that works better as a jingle than a full-fledged song. Kenyon also draws comparisons to other early Beatles material and argues that Paul’s demo version hints at stronger musical instincts than the final release suggests. Ideal for songwriters and theory buffs alike, this episode highlights how even a “bad Beatles song” can reveal creative insights<hr /><p style="color: grey; font-size: 0.75em;"> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer" style="color: grey;" target="_blank">acast.com/privacy</a> for more information.</p>

00:14:35

EP046 - Long Tall Sally

The Beatles may have written hits by the dozen, but when it came to raw vocal power, they turned to “Long Tall Sally.” In this episode, Peter and Kenyon examine how Paul McCartney tackled Little Richard’s blistering classic and made it his own. From the song’s gospel-tinged triplets to McCartney’s throat-shredding vocal performance, this cover became a defining moment in Beatles live sets—often saved for their explosive finales. The hosts explore the band’s deep reverence for American R&B, the subtle modifications they made to the original arrangement, and how the recording captured their ability to walk the line between homage and transformation. With a spotlight on the blistering guitar solo, relentless tempo, and the song’s pivotal role in the Beatles’ stagecraft, this episode unpacks what made “Long Tall Sally” one of their most electrifying—and enduring—covers.<hr /><p style="color: grey; font-size: 0.75em;"> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer" style="color: grey;" target="_blank">acast.com/privacy</a> for more information.</p>

01:08:50

EP045 - You Can't Do That

The Beatles wrote dozens of love songs—but “You Can’t Do That” is all jealousy, threat, and menace. In this episode, Peter and Kenyon unpack John Lennon’s ferocious 1964 track, a surprisingly harsh B-side to the exuberant “Can’t Buy Me Love.” The hosts explore how Lennon channels emotional volatility through biting lyrics, raw vocal delivery, and a snarling lead guitar part that George Harrison devised with a newly acquired Rickenbacker 12-string. They delve into the song’s modal blues influences, subtle key ambiguities, and its use of stop-time syncopation in the verses—a rhythmic tension that mirrors the song’s lyrical unease. The conversation also touches on the song’s live arrangements, early mixes, and the moment when Paul’s high harmony nearly outshines the lead vocal. “You Can’t Do That” may not be a Beatles chart-topper, but in this episode, it gets the spotlight as one of their most emotionally charged early recordings.<hr /><p style="color: grey; font-size: 0.75em;"> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer" style="color: grey;" target="_blank">acast.com/privacy</a> for more information.</p>

01:16:37