Daytrippin' Beatles Magazine

The Latest Beatles News, Travel, Biography and Discography


Yoko Ono’s An Invisible Flower is first book offering from Sean Lennon’s Chimera Library

A new illustrated story by Yoko Ono called An Invisible Flower has been released. The story and drawings were created when Yoko was only 19 years old. By chance, son Sean Lennon discovered these drawings in his mother’s archives in her apartment. He explains in the introduction to the book that he thought this story would be “a good beginning for Chimera Library.”

Written in 1952, An Invisible Flower is a simple, yet powerful depiction of how imagination can save people during stressful times. Ono writes in the afterword that the story was inspired during her time as a child when she was evacuated to the Japanese countryside during World War II.

In the story, she is comforted by the fact that a flower that only she can see can also be seen by a mysterious friend named ‘Smelty John.’ Seems like this may have been a foreshadowing of Yoko meeting Sean’s Dad, John Lennon, 14 years later.

While the illustrations are quite childlike, the concept of imagination flows strongly through this piece, tying in with Yoko’s lifelong body of art which constantly asks people to “Imagine,” most famously inspiring John Lennon’s legendary song, now played every New Year’s Eve in Times Square before the ball drops.

Yoko Ono, now 79 years old, currently has an art exhibition, Yoko Ono: To The Light, on display in London at the Serpentine Gallery. She is encouraging everyone to contribute a picture of them smiling to her new project, #smilesfilm. You can upload your picture via Twitter or Instagram (http://www.smilesfilm.com).

Chimera is a record label and publishing company founded by Sean Lennon. For more information, visit http://chimeramusic.com/

–Trina Yannicos

You can enter to win a copy of An Invisible Flower in our Summer 2012 Beatles Giveaway through August 31.

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Exclusive interview: Director of ‘U.S. vs. John Lennon’ and ‘Who is Harry Nilsson’, John Scheinfeld, discusses John Lennon, Yoko Ono and his new film on Elvis

Writer/director John Scheinfeld wrote, directed and produced the acclaimed documentaries The U.S. vs. John Lennon and Who Is Harry Nilsson (And Why Is Everybody Talkin’ About Him)?.

RLF Victor Productions Ltd. recently pegged the Emmy and Grammy nominee to direct Fame & Fortune, an adaptation of the 2007 best-selling book Elvis: Still Taking Care of Business written by Sonny West, (Elvis’s bodyguard and confidant) with biographer Marshall Terrill. Fame & Fortune is slated for theatrical release in 2012 to coincide with the 35th anniversary of Presley’s death.

In this exclusive interview with Daytrippin’, Scheinfeld discusses working on the John Lennon and Harry Nilsson films, his dealings with Yoko Ono and how the greatest rock ‘n’ roll summit in history  between Elvis and the Beates will be the centerpiece of his new feature film.

Q: What made you want to do The U.S. vs. John Lennon and why did you zero in on that one aspect of Lennon’s life?

JS: It is very rare to find a largely unknown story about someone as famous as John Lennon. When the information was de-classified in 1997 I remember thinking, “I had no idea.” The reason, of course, is that what the US government tried to do to John Lennon was done in secret. Due to the efforts of Jonathan Weiner, a professor at the University of California – Irvine, we have a very full picture of what happened. I was totally fascinated as was my colleague David Leaf. We did a treatment and for seven years we tried to sell this as a theatrical documentary and got a lot of “Who cares?” That surprised us and then we put it on a shelf for a while. Then it turned out that in a post 9/11, post-Iraq world, people began to see the relevance of a story which, at its heart, had an unpopular war…a president who lied to the country…and that if you protested the government came after you. Does that sound familiar?! Although ours was a story rooted in the past, it had a great many parallels to what was going on in the new Millennium. We had meetings set up at numerous studios to start pitching it again. Our very first one was with Lionsgate and, literally, they did not let us out of the room. They said, “We want to make this.” We were an example of good things come to those who wait. The working experience with Lionsgate was tremendous and we got to make the movie we wanted to make. It’s a project of which I am really proud.

Q: How were your dealings with Yoko Ono?

JS: We first reached out to her attorney, Jonas Herbsman, and told him what we’d like to do and this is how we’d like to do it. He liked the idea and set up a meeting with Yoko. She gave us her blessing after that initial meeting, but not her complete participation. I think she needed to see from us that we had integrity and that we were going to do what we said we were going to do. I believe she’s had some experiences where that was not the case. I knew that she had an archive of very rare material, including film and photographs, and I wanted access to it. In all of my documentaries I want to present the most rare and little-seen audio-visual material possible, not just the stuff you’ve seen in dozens of other documentaries.

So we went to see her at The Dakota and showed her more of a rough cut than we ordinarily would have. It was running obscenely long, close to three hours, and there were lots of holes in it where it said, “Photo here” or “Film clip here.” As you know, when you walk in, you have to step over the place where John Lennon was shot and killed, which is a bit creepy Then we were ushered up to the apartment, had to take our shoes off when we got inside and went into the kitchen. There was a big 50-inch TV up on the wall and Jonas Herbsman is there, who is a great guy. We were chatting and then Yoko walks in. She doesn’t really say hello or good morning, or offers us any coffee or tea and sort of says, “Lets go.” We put in the DVD and it plays. All the way through, she’s taking notes on a little pad. My heart is dropping into my stomach and I’m convinced she hates it. When it finishes, nobody says a word. Then she turned to me and said what she later said publicly, “Of all the documentaries made about John, this is the one he would have loved.” From that moment, the doors opened and we were given access to the archive. I don’t think a day or two would go by where Yoko or one of her staff would call and say, “You need to see this” or “Yoko wants you to have that.” There was so much cool stuff in the archive that really helped make the film special. Also, it was really gratifying to have earned her trust.

Q: What are some of the materials you are referring to?

JS: Well, from 1969 to 1972 it was, in effect, the John and Yoko Reality Show. They had a camera crew following them around capturing their various activities, concerts, meetings, protests, even just walking around New York City. That provided a wealth of great material for us. There’s also a wonderful moment in an interview segment in which Yoko describes her favorite moment during the Bed-In. She recalled that it was late at night, all their handlers had gone, the press had gone, it was just John and Yoko alone in the hotel room together. It was a beautiful night, there was a full moon in the sky and John turns to her and says, “Isn’t this great? Here we are promoting world peace and love and we have both.” And I turned to Jonas and said, “That’s in the movie!” and we all laughed. The reason I’m telling you this is that we needed some footage to illustrate the story. John and Yoko had their own camera crew at the Bed-In and they shot some lovely, lovely footage of them in bed together. It was tender and so sweet and showed that the love affair between them was so strong. But it was in that archive that we found that footage to illustrate that moment.

There was some also some footage of them dancing alone on a street in lower Manhattan and we found a way to use it creatively. There are many similar moments in the film, but it could not have happened without Yoko opening up her archive to me. She also had dozens and dozens of rare photographs that had never been seen before. We augmented all of this with our own treasure trove that found by casting a wide net around the world.

There are two pieces of film we found that I’m really proud of: one is from Vienna in 1969 when John and Yoko came there to do an event. The press turned out in full force and entered a room to find John and Yoko in a white cloth bag. We read about this but had never seen it. An Austrian TV network found a roll of footage that had never been developed in their vault. I think we showed it for the first time. Then there was a piece of footage that eluded us for a very long time. After John won his case against the U.S. government, he was interviewed on the steps of the New York courthouse in July of 1976. I knew what he said because the New York Times quoted him, but we couldn’t find film or video anywhere. All the archivists at various news organizations told us that it didn’t either exist or had been destroyed a long time ago. I’m fairly relentless when it comes to tracking down material and wouldn’t accept no for an answer. I knew what day the immigration case ended, so we went back to the archive and asked what footage they had shot that day. Bingo! In a far corner of the CBS archive was a 20-minute roll of film that had been developed, but was never used. There was John receiving his green card in an office and then there was footage of him being interviewed outside the court. In answer to a question he offered up a typical Lennon witticism that ended up getting one of the biggest laughs in the movie (I won’t tell you what it was – go see the movie!). Lennon knows he’s saying something funny and he winked at the camera, so I froze on the wink. Our film wouldn’t have been the same without that moment. It’s these little pieces of footage that you don’t expect to find that make all the difference in the world.

Q: What were on Yoko’s notes?

JS: Funny you should ask – she never shared them with me. She could have been making up a grocery list for all I know (laughs). Over time she had a few notes, but nothing major. She was extremely supportive of our vision. I remember at one point she said, “I think you have too much of me in the film.” This was great – she wasn’t your typical Hollywood star who would say, “There needs to be more of me.” I do remember, sometime later, that I was struggling with how to end the film. I was talking to Yoko about something unrelated, when she started to speak about how it felt to have her husband there one minute, she turns, and then he’s gone. His murder was so sad and unexpected – they never had a chance to say “Goodbye.” I thought it was a very poignant and emotional thing for her to share. This was a very profound moment for me…and gave me the idea for a new ending that would be emotional and yet inspire.

Q: Yoko has historically been a closed off person who rarely shows any emotion, but you could see in the clips of her and John, there was a great affection for one another.

JS: It’s interesting you say that because, when we started, we didn’t intend the John and Yoko love story to be a significant part of the film. However, the more time I spent with her and with people in her world, it became so clear that this was truly an extraordinary love story. You can see it, hear it, you can feel it and it was very clear it needed to be a more important part of the movie. It added so much emotion and heart to the film…and touched me deeply…to see just how much they really and truly loved each other.

Q: To me, the real star of the film was Lennon’s immigration attorney, Leon Wildes. He was so poignant and told the best anecdote in the film. Tell me about him.

JS: I conducted the interview in New York where Leon still practices. Here’s what I found most interesting – John and Yoko didn’t go to a radical left-wing lawyer – they went to a very conservative attorney whose specialty was immigration matters. The U.S. government wanted to deport him and they went with the attorney who they felt best could deal with that situation. At the time, Leon only vaguely knew who John Lennon was, but as things progressed, he developed great respect and a special relationship with John and Yoko. Early on John asked Leon, “So what do you think? Can we win?” Leon told him, “I think this case is a loser.” John asked why and Leon said his opinion was based on his prior experience in similar cases. But Leon had found some interesting wrinkles in the case and in the law that enabled him to formulate a creative strategy. Eventually, he filed suit against the government and, amazingly, won. I think it was his brilliance as an attorney that took what should have been a routine case and found a way to score a big win for his clients. Nice man and a very good memory for the atmosphere of the times.

Q: What kind of reaction did the film receive?

JS: When you make a film, you spend far too many hours in a small dark editing room hoping you’re doing good work, but you never really know until it’s released and people see it. From the premiere at the Venice Film Festival, to debut screenings at the Telluride and Toronto film festivals there was a buzz about the film. People were responding to it and it was resonating with them in a powerful way. It wasn’t just a story about a rock ‘n’ roller – the issues we were dealing with – freedom of speech, government abuse of power, the futility of some wars – plus the courage of John Lennon and Yoko Ono to stand up to the government as a true life David and Goliath story — all of these things hit a chord with people. And not just in the United States. The movie played in theatres all over the world and it has proven to have a strong afterlife on DVD. To this day, I still get emails and Facebook messages from people who are just now discovering the film, which I find very gratifying.

Q: Let’s discuss your follow-up film, Who Is Harry Nilsson? (And Why Is Everyone Talkin’ About Him…)? How did that idea come about?

JS: The attorney for the Nilsson estate, Lee Blackman, had seen some of my work and asked if I’d be interested in doing a documentary about Harry. Now, I’d known Harry’s music since my college days — I’d play his records on my morning radio show at Oberlin College. The interesting thing is that the first song I’d heard of Harry’s was “You Can’t Do That.” It took me by surprise because I was expecting just another bad cover of a Beatles song. I was wrong! It turned out to be Harry’s brilliant creation – a song of his own that wove together the titles of many songs by the Fab Four. On his early albums, you can hear a very strong Beatles influence. In fact, as far as Harry was concerned, the Beatles were the only band of consequence. So imagine Harry’s delight when his heroes bring his music to the attention of the world and, later, become his friends.

So…after doing a considerable amount of research I felt that Harry’s was a compelling story that needed to be told. Lee found independent financing for the film and went on to become our Executive Producer. We made it betwixt and between other projects. There was a rough cut ready around Christmas 2005 and the head of the Santa Barbara Film Festival, Roger Durling, heard about it and after seeing it said, “I’ve just gotta have this and show it at our film festival.” We liked the idea as a way to test the film in front of an audience and to build some buzz. So my editor, Peter Lynch, and I finished a cut just for the festival. It turned out to be a wonderful night. Brian Wilson of the Beach Boys was there as was Danny Hutton of Three Dog Night, Micky Dolenz of the Monkees, and May Pang, who hung out with Harry and John Lennon during “The Lost Weekend” period, flew in from New York. We got great reviews in Daily Variety, Hollywood Reporter, Leonard Maltin loved it, and all of a sudden, people were talking about our little movie.

We planned to release it theatrically in late 2006/early 2007, but we ran into some unexpected issues regarding the master recordings in the film. There are bits and pieces of 60 songs in the movie – a lot for any film much less a documentary. As a result, the film was in limbo for a few years. Eventually, everything was resolved and Pete and I went back into the editing room and properly finished the film. The world premiere was at the Cinema Village Theater in New York in September 2010 and we played there for three weeks, which for a documentary is amazing. Even more exciting, we got seriously great reviews from most major publications and influential critics. Icing on the review cake was a full-page column in Entertainment Weekly by Stephen King. What an honor that he would pay attention to our “little film that could,” not to mention rave about it!

Q: You’ve got some big names for Who Is Harry Nilsson? but Ringo Starr’s absence is felt. Why did he not grant you an interview?

JS: We tried every which way to get Ringo to talk on camera. What came back to us each time was that there are three people he just does not feel comfortable talking about in person: John Lennon, George Harrison and Harry Nilsson. It’s just too emotional for him and I totally respect his feelings on the matter. Ringo was, however, tremendously supportive of the film including providing us with photos and making it possible to use Son of Drac, a film that Ringo and Harry made in the early 1970s but has been locked away in a London vault since 1974. At the end of the day, we were happy to have his support and understood the decision he made. Sometime later we had heard that he saw the film and liked it but thought some things were missing from the story. And I said to myself, “Yeah, Ringo, you were missing…” (laughs).

Q: Fame & Fortune, the first ever big screen biopic on Elvis Presley, will be your foray into features and continues your examination of pop culture icons. What drew you to this particular project?

JS: I had been approached by the producers, Ricki and Cindy Friedlander of RLF Victor Productions. They had optioned the 2007 book called Elvis: Still Taking Care of Business written by Sonny West and Marshall Terrill. I saw it as a “buddy movie” – about the extraordinary friendship between two guys that played out over a 16 year-period and how that friendship was impacted by fame and fortune. This was of great interest to me. I like to use the analogy of “The King’s Speech” – a film that was about many things, but at its heart is about a journey taken together by two friends. In addition, I really liked the idea that this would not be an Elvis biopic – that’s been done many times on television – but, rather, was a unique window into the world of Elvis Presley as experienced by someone who was there. The Friedlanders had developed a script and were looking to bring on a director to bring a filmic vision to the material and to rewrite the script to match that vision. I understand that they talked to a lot of directors, most of whom had far more feature film experience than I did. But, as Ricki says, they kept coming back to me because they believed that I had a real affinity for rock icons and everything that comes with it, that I really understood the rock and roll experience, the pressures and temptations affecting a young man eager to express himself creatively, the roller coaster ride of fame and fortune and personal excess that can overwhelm an artist. And I do. I feel very comfortable with that world and so began many long conversations during which Ricki, Cindy and I discussed the changes I wanted make in the script, how I saw the film, how I saw casting, how I saw the story playing out and how I would treat the characters and character arcs. Happily, we were on the same page creatively. I believe they also made a lot of calls to all kinds of people asking what it was like to work with me and finally they took a leap of faith and brought me onboard. I couldn’t be more excited and appreciative.

Q: You said something very profound in an earlier interview that summed up Presley in a sentence, and that was, “What do you do when all of your dreams come true by the age of 20?” Is that the premise of the film?

JS: I don’t think that’s the actual premise of the film, although it will be an aspect of Elvis’ character that will be portrayed. I’ve seen a number of the made-for-television movies about Elvis, going back to the Kurt Russell miniseries in 1979.  In my opinion, they have tended to concentrate on the more sensationalistic aspect of Elvis’ life and, more often than not, he comes off as a caricature. I think that does a real disservice to a great artist. What I want to do with this film is take Elvis out of the tabloids where he’s been for far too long and show him as a fully-realized, complex, three-dimensional human being. I want to recognize the remarkable achievements without apologizing for the man. Sonny’s experience with Elvis allows us a very unique window into that world and enables us to present stories that are largely unknown to the average person. To be sure, it was a roller-coaster journey for Elvis, personally and professionally. There were demons he was battling his entire life as well as a streak of self-destructive behavior that eventually contributed to his untimely passing. But none of that should undercut the remarkable achievements of the man, and that’s what we will show in our film.

Q: Will you chronicle when the Beatles met Elvis in August 1965?

JS: Absolutely! Many rock ‘n’ roll historians don’t even pay attention to this meeting, but to me, the night the Beatles came to meet Elvis, was a very significant event. And the reason why I believe it’s a significant event is that it was the past (Elvis) colliding head-on with the future (The Beatles). This to me was a pivotal moment in which he came face-to-face with the artists who had replaced him at the top of the rock ‘n’ roll ladder. That had to be an extremely humbling experience, not to mention causing him to do some serious self-examination. That, in my opinion, makes for great drama.

I have read at least six different accounts of what happened that night…and they don’t all agree. How could the people who claim to have been there remember things so differently? Some thought they jammed on rock oldies, others said they didn’t. Some remembered Elvis greeting the Beatles at the door, others say that never happened. So where did the truth lie? Then I came across an interview with John Lennon in which he described in some detail…and with great enthusiasm…what happened that night. Having spent so much time in the world of Lennon, I know that he had a tendency to pooh-pooh things, to downplay their significance. So, for him to speak of this event in such detail and with such excitement, I had no doubt his was the true account. Then I went back and read Sonny’s book and, what do you know, his account, while not identical, is very close to Lennon’s. So, to my way of thinking, this shows that Sonny has a great eye for detail, a good memory, and is a reliable teller of the truth. I am loving writing this scene. The result, I hope, will be truly magical and joyous moment in which the audience will be a fly on the way watching the interaction – personal and musical – between Elvis and the Beatles.

Q: Did you find it mildly amusing and ironic in your case, that it was John Lennon’s imitation of Peter Sellers, (Editor’s note: Scheinfeld directed The Unknown Peter Sellers in 2000) that eventually broke the ice with Elvis? 

JS: You know, that was one of the great things that I had learned while doing the research. I had no idea! (laughs) I knew the Beatles loved Peter Sellers and listened religiously to his avant-garde radio show in England, The Goon Show. How cool, therefore, that Lennon and Elvis find common ground in one of Sellers greatest characterizations – Dr. Strangelove. And not just the unique voice, but the hysterical moment when the good doctor is strangled by his own gloved-hand. According to Lennon’s and Sonny’s account, once the ice was broken, these great artists appreciating each other, having a good time, sharing some stories of what it was like to be on the road, dealing with fans and a pressure-filled career to the point where they could relate to each other in a way that few others could. Some writers tell of mutual animosity as a result of this rock and roll summit meeting, but I do not believe that was the case. From my point of my view, Elvis was thinking more in terms of what was happening with his career and the choices he made…or the choices thrust upon him.

Q: What’s most interesting is that it’s taken almost 35 years for Elvis’ story to make it to the big screen. Why do you think it’s taken that long to get to this point?

JS: I think the first thing to make clear here is that we’re not doing The Elvis Presley Story. We are doing Fame & Fortune, which is the Sonny West story. In so many ways, that’s what really intrigued me because we have a very distinct point of view of Elvis. I like the notion of someone being off to the side and seeing everything through his eyes. That to me will make for very compelling drama. I don’t know why there hasn’t been a feature film about Elvis in the 34 years since his death. That’s a question that only Elvis Presley Enterprises can answer. At the end of the day, I want to make a powerful, emotional and highly entertaining film that transcends mere biography, one that celebrates one of the most important musical legacies in pop music while staying true to the spirit of a rock icon and the love his fans have for him.

For more information about the movie, check out the Fame & Fortune website at http://rlfvictorproductions.com/index.php?p=fame

Fame & Fortune Facebook: http://www.facebook.com/FameandFortuneMovie

Fame & Fortune Twitter page: http://www.twitter.com/FameFortuneFilm

——-

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The Ballad of John, Yoko, Stuart and Astrid

An in-depth exploration of how John Lennon’s love for Yoko
filled the void left by Astrid and Stu

by Josh Kennedy

It split the Beatles, this affair of the heart. She was an artist from an upper class family. She came from a foreign country that the previous generation in Britain had fought an all-out war to defeat. One Beatle was besotted with her, ready and willing to forsake the band for his new romance. She was always at his side; the intense couple even began dressing and wearing their hair alike. Paul McCartney was jealous, venting his frustration in petty ways that boiled over into the group’s professional work. The name of this lady was… Astrid Kirchherr.

It would happen again, and eerily so, when Yoko Ono appeared on the scene six years later. The personalities involved were different, but a similar stew of forces was present in both situations. When the Beatles story is examined as a whole, Yoko can be seen as an amalgam, combining the earlier roles of Astrid – the influential, foreign artistic woman – and of Stuart Sutcliffe – the brilliant but musically limited force who occupied much of John’s attention at the group’s expense. These striking parallels are worth exploring for any light they may shed on the eventual breakup of the Beatles.

When the Beatles met Astrid in Hamburg, there is no doubt they were impressed. As Cynthia Lennon wrote in her 1978 memoir, “John’s letters were full of Astrid… particularly her way of dress, her avant-garde way of life, and her marvelous photography.” John even went so far as to call her the “German Brigitte Bardot.” This comparison is illuminating. Bardot was the icon of John’s adolescent fantasies, to the point where he encouraged Cynthia to dye her own hair blonde in emulation. Very shortly before taking up with Yoko in 1968, Lennon would meet the real Bardot in person. He showed up stoned for the appointment, and had what he later described as a “fucking terrible evening – even worse than meeting Elvis.” Any illusions he still harbored about Bardot as the ideal woman were then shattered, and with them, perhaps, some regard for his own wife’s dyed-blonde image.

Yet Bardot was not John’s only ideal. As he recalled in a posthumously published reminiscence, “I’d always had a fantasy about a woman who would be a beautiful, intelligent, high-cheek-boned, free-spirited artist a la Juliette Greco.”  He went on to say that this ideal morphed slightly during a Beatles visit to Asia, becoming an artistic oriental woman. But back in Hamburg, “oriental” was not yet part of the idea. Astrid was not only a “beautiful, intelligent, high-cheek-boned, free-spirited artist” but was also, like Greco, a continental European.

As Kirchherr later told BBC radio:

“We got inspired by all the French artists and writers, because that was the closest we could get. England was so far away, and America was out of the question. So France was the nearest. So we got all the information from France, and we tried to dress like the French existentialists. … We wanted to be free, we wanted to be different, and tried to be cool, as we call it now.”

Small wonder that Cynthia felt intimidated about meeting her.

Of course, Astrid fell in love with Stuart Sutcliffe, the most bohemian Beatle, with his dark sunglasses and brooding James Dean image. “I fell in love with Stuart that very first night,” Astrid told author Philip Norman. “So pale, but very, very beautiful. He was like a character from a story by Edgar Allan Poe.” ‘They were the big love,” Paul McCartney says of this period, and Pete Best remembers the couple as being “like one of those fairy stories.”

Before long, according to Norman, Astrid was employing her own artistic talents “to model him (Stuart) into an appearance echoing and complementing her own.” Much has been made of Astrid’s visual influence on the Beatles’ haircut and fashion, and as an early band photographer. More overlooked is the impact all of this had on John’s ideal of a relationship. John may have joined his band mates in ridiculing Stuart at times, but as he later admitted to biographer Hunter Davies, “I used to explain afterwards to him that we didn’t dislike him.” Privately John admired his friend, and the intense partnership of Stu and Astrid might be seen as something of a model for John’s later, all-encompassing infatuation with Yoko.

Certainly the two situations produced some similar outcomes, for in both cases, Paul McCartney reacted badly. Lennon noted the cause of an onstage fistfight between McCartney and Sutcliffe:  “Paul was saying something about Stu’s girl, and he was jealous because she was a great girl, and Stu hit him on stage.” Later, when John found his own soul mate in Yoko, Paul tried to accept it, even inviting the couple to live in his house during the summer of 1968. This was a time when Paul was in a fragile state, having recently broken with his fiancée Jane Asher. As reported by Paul’s summer girlfriend Francie Schwartz, Paul’s true feelings of envy slipped out in a cruel jest. A note left on the mantle warned John: “You and your Jap tart think you’re hot shit.” Paul admitted leaving the note as a joke, but the dark underpinnings of this incident were crystal clear.

Indeed, jealousy was at the heart of the other Beatles’ relationships with both Stuart and Yoko. Stuart was a formidable presence in his own right.

Cynthia Lennon recalled:

“It was a very beautiful friendship John had with Stu. John, even though he’d gone into the music end of the art world and left his art behind, he still desperately wanted to be a painter, and Stuart was a fantastic and dedicated artist. They totally understood each other and gave to each other what they knew, what they had to offer.”

Stuart was hardly a musician, but joined the group because John liked having him around. “When he came into the band… we were a little jealous of him; it was something I didn’t deal with very well,” Paul admitted years later in The Beatles Anthology. “We were always slightly jealous of John’s other friendships… when Stuart came in it felt as if he was taking the position away from George and me. We had to take a bit of a back seat.”

George agreed, saying “..with all the stress we were under, a little bitching went on and Paul and he (Stu) used to punch each other out a bit.”

“We’d had a few ding-dongs, partly out of jealousy for John’s friendship, and Stuart, being his mate from art school, had a lot of his time and we were jealous of that,” Paul continued. “Also, I was keen to see the group be as good as it could be, so I would make the odd remark. Oh, you don’t play that right.” Here was evidence of the strict perfectionism which Paul would later direct towards George and Ringo in the studio.

Curiously, John would never lose his taste for inviting musically limited friends to join his band simply because he liked them. This trend had begun with John’s boyhood friend Pete Shotton scraping a washboard in the Quarrymen.

Of Stuart joining the Beatles, Shotton wrote:

“Thus continued the pattern that had begun with me in 1956, and would once again manifest itself with Yoko Ono in the late sixties. Since music came so naturally to John, it simply never occurred to him that anyone to whom he felt especially close could not also participate.”

Philip Norman’s 2008 biography Lennon shrewdly probes John’s decision to bring Yoko to Beatles recording sessions in 1968:

“Whatever John’s inner thoughts, he remained a fully paid-up Beatle, subject to the remorseless manufacturing cycle, which, in late May, had summoned them back to Abbey Road Studios… at the back-to-school session on May 30, his initial intention became clear: not to break up the old gang, but to augment it. ‘He wanted me to be part of the group,’ Yoko says. ‘He created the group, so he thought the others should accept that. I didn’t particularly want to be part of them… I couldn’t see how I would fit in, but John was certain I would. He kept saying, ‘They’re very sensitive … Paul is into Stockhausen… They can do your thing…’ He thought the other Beatles would go for it; he was trying to persuade me.’”

Lennon confirmed this remarkable notion himself, in his 1970 Rolling Stone interview:

“Yoko played me tapes I understood. I know it was very strange and avant-garde music is very tough to assimilate… but I’ve heard the Beatles playing avant-garde music when nobody was looking for years. But they’re artists, and all artists have fuckin’ big egos… and when a new artist came into the group, they were never allowed. Sometimes George and I would like to bring somebody in like Billy Preston, that was exciting, we might have had him in the group. We were fed up with the same old shit… and I would have expanded the Beatles… she came in and she would expect to perform with them like you would with any group…”

In his 2006 memoir, recording engineer Geoff Emerick noted a shift in Yoko’s role as the White Album sessions dragged on:  “I could see that she (Yoko) was gaining confidence. She seemed to feel she was part of the group now. In her mind, and in John’s mind, she had become the fifth Beatle.” Lennon later expressed indignation when scenes of Yoko vocalizing to a Beatles jam were cut from the Let it Be movie. Clearly, he took Yoko’s presence as a quasi-band member seriously.

Furthermore, John sought to enforce these wishes at a time when he was trying to reassert himself as leader of the Beatles. It was a role John had occupied during the early days, when Stuart had joined the group. By contrast, many Beatles ideas in 1967 had originated with Paul. Privately, Lennon simmered, as he told Rolling Stone: “When Paul felt like it, he would come in with about twenty good songs… and I suddenly had to write a fucking stack of songs. Pepper was like that. And Magical Mystery Tour was another.”  Perhaps, following the critical panning which greeted the Magical Mystery Tour film, John felt it was time for a change. Or perhaps, being with Yoko simply gave him renewed confidence.

John further told Rolling Stone:

“Bit by bit over a two-year period, I had destroyed me ego. I didn’t believe I could do anything. I just was nothing. I was shit… and she (Yoko) made me realize that I was me and that it’s all right. That was it; I started fighting again, being a loudmouth again and saying, “I can do this. Fuck it. This is what I want,” you know. “I want it, and don’t put me down.”

With Yoko, John felt he had reawakened his own crucial sense of personal authenticity. Years later, he gave this assessment of the Beatles’ split:

“…That’s how the Beatles ended. Not because Yoko split the Beatles, but because she showed me what it was to be Elvis Beatle and to be surrounded by sycophants and slaves who were only interested in keeping the situation as it was. She said to me, you’ve got no clothes on. Nobody had dared tell me that before.”

Nobody, perhaps, except for Stuart Sutcliffe.  In the early sixties, John wrote long, honest letters to Sutcliffe, sharing John’s inner thoughts, as he would later do with Yoko. Tellingly, in 1967, John remembered Stu with these words: “I looked up to Stu. I depended on him to tell me the truth.”

Feeling he was once more being true to himself, John was furious when Paul got the credit for announcing the Beatles’ split to the press in 1970. Lennon would continue to try to set the record straight for the rest of his life. It seems ironic that John’s wife has been lambasted for years for supposedly splitting the group up, an act for which John himself publicly sought credit. Those who blame Yoko Ono for breaking up the Beatles may have a hard time facing the truth: that John Lennon broke up the Beatles. As he confidently wrote in the late seventies, “I started the band. I disbanded it. It’s as simple as that.”

John elaborated on his decision to leave in a 1980 interview with Playboy: “What I did… in my own cowardly way was use Yoko… it was like now I have the strength to leave because I know there is another side to life.” This other side to life included a host of different artistic projects, many of them employing John’s latent art school talents. He collaborated with Yoko on a whirlwind of films, lithographs, and art shows, just as Stu had resumed his dedication to painting once the distraction of the rock band was removed. Yoko, then, became the escape from the Beatles that John had already been looking for. The template for this particular kind of escape had been established years before. We must remember that John was barely 29 years old when he told the other Beatles he was quitting the group in September 1969. For John, the best example of an appealing alternate life had been seen a mere eight years before, in the bohemian path of art and love chosen by his close friend Stu.

Pete Shotton remembers John describing his new romance with Yoko: “It’s just like how we used to fall in love when we were kids.”

John certainly remembered “when we were kids.”

He remembered Stu and Astrid.

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Copyright Daytrippin’ – This article may not be reproduced without the permission of the author

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Book Review: John Lennon: In His Life, new photo-biography

John Lennon: In His Life from White Star Publishers is a new coffee-table style book featuring a pictorial look at John Lennon’s life. The biographical text is written by Beatles author, John Blaney, and there is a preface written by Yoko Ono Lennon.

The book starts off with a gorgeous array of photos from John Lennon’s childhood and teenage years. The large size of the book offers quality reproductions of Lennon’s birth certificate as well as color images of his boyhood writing and drawings from the “Daily Howl”. The quality and scale of the early photographs are reminiscent of the hardcover book from 1988 called Imagine: John Lennon, a companion to the John Lennon documentary of the same name.

The photos of The Beatles years in Hamburg are stunning and printed in high quality and a highlight of the book. The early years of Lennon’s career with The Beatles are given a thorough exploration in John Lennon: In His Life.
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However, as the years progress in Lennon’s life, the variety of pictures starts to decrease. The focus of the book is on Lennon’s Beatles years. Yoko doesn’t even enter the book’s timeline until page 182 out of 270 pages. That means the later years of Lennon’s life are not given the same amount of attention.
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The 1970s are only given 25 pages in the book, and shockingly, 1980 is represented with one page spread. With that last spread, the book ends abruptly with virtually no pictures of the last year of Lennon’s life.
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As a result, this book cannot be described as a complete look at John Lennon’s life. But if you are more interested in Lennon’s early years and his time with The Beatles, than you will enjoy this book.
–Trina Yannicos
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Gimme Some Truth: Essential books and films to remember John Lennon

For those of us who were too young or not even born when John Lennon was alive, or for those who just want a refresher course, the best way to celebrate what John Lennon was really about is to go straight to the source. On this day, 30 years after the tragic death of John Lennon, we highlight the best John Lennon interviews available through books and video.
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Of course, John Lennon’s music was magical and inspirational, but it goes further than that. The more as time goes on, we realize how rare John Lennon was in terms of his honesty in expressing his personal and political beliefs and his courage to take a stand in what he believed in. Very few entertainers or politicians are willing to take a stand these days. We not only miss John Lennon’s words and music, we miss his courage.
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Here are some books, videos and films to help illustrate what John Lennon was all about:
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A set of three candid interviews from 1971 and 1972
The September 11, 1971 show was the first US TV interview John gave after the breakup of The Beatles.

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From 1972, a five-episode set where John and Yoko essentially took over The Mike Douglas Show in 1972 serving as guest hosts and choosing the guests
Now hard to find on VHS.
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This documentary chronicles John and Yoko’s 1969 Peace Bed-Ins and Protests. Even people who were alive at the time may learn a lot from watching John and Yoko’s campaign for peace and realize how ahead of their time they were.
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This in-depth interview with John was conducted for Rolling Stone in 1970 by the magazine’s publisher, Jann Wenner
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Also known as the Playboy Interviews, conducted in 1980 by David Scheff
Now available on Kindle
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JUST ANNOUNCED:
For the first time ever, Rolling Stone is publishing one of the last interviews conducted with John Lennon from December 5, 1980 in their current issue – you can also download a podcast of the interview
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Essential John Lennon movies include:
Imagine, the biographical movie produced by Andrew Solt released in 1988, now available in a deluxe DVD edition;
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Backbeat, the movie about the Beatles days in Hamburg, Germany which focused a lot on John;
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Nowhere Boy, the fascinating film about John Lennon’s teenage years – coming to DVD on January 25, 2011;
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Lennon NYC, the PBS film exploring John Lennon’s New York years.
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And of course there’s John Lennon’s entire solo catalog, just released in a Signature Box. The John Lennon Box of Vision features all of the album art from John Lennon’s solo albums in a hardcover book format.
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In conclusion, the best tribute you can give John Lennon is to follow in his footsteps–search for and demand the truth, and give peace a chance.
“War is over, if you want it”

–Trina Yannicos


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Interview with author Ken Sharp on the making of John Lennon’s last album, Double Fantasy

By Marshall Terrill

STARTING OVER: The Making of John Lennon and Yoko Ono’s Double Fantasy by Ken Sharp (MTV/Gallery Books; October 2010; $26.99) provides an intimate collection of personal accounts and never-before-seen photographs behind the creation of the groundbreaking album which forever changed the face of music, and proved to be John Lennon’s final work.

Three decades since its release, John Lennon and Yoko Ono’s Double Fantasy is recognized as one of music’s most beloved albums and marked the creative rebirth of one of rock and roll’s most influential artists. For the first time ever, Starting Over offers the definitive text and visual account behind the creation of the historic record, which would ultimately serve as John’s last musical statement to the world.  A number one record around the world, the GRAMMY award-winning Double Fantasy (1981’s “Album of the Year”) yielded the smash singles, “(Just Like) “Starting Over,” “Woman” and “Watching the Wheels.”

Constructed as an oral history by Los Angeles based singer/songwriter and author Ken Sharp, the story is told by the album’s key players including Yoko Ono, producer Jack Douglas, Geffen Records head David Geffen, the entire studio band, Rick Nielsen and Bun E. Carlos of Cheap Trick who played on the sessions,  engineers, arrangers,  videographers, key record company personnel, media who interviewed John and Yoko during the promotion of the album (David Sheff/Playboy, Andy Peebles/BBC Radio, Dave Sholin/RKO Radio), photographers (Annie Leibovitz, Bob Gruen, Kishin Shinoyama, Paul Goresh), music journalists and Lennon himself via archival interviews. Starting Over weaves together the most comprehensive and extraordinary portrait of Lennon’s last days by one of rock’s premier writers.

Daytrippin’: What do you want Starting Over to convey to your readers?

Ken Sharp: In light of the horrible tragedy, the creative period prior to his murder signaled a creative rebirth for John Lennon.  I wanted to covey that burst of creativity through the tapestry of people I interviewed for the book.

Daytrippin’: How old were you in 1980 and what affect did John Lennon’s death have on you?

Sharp: I was 17 and living back east in Fort Washington, a suburb of Philadelphia, Pa.  I didn’t hear about his death until the next morning.  My sister woke me up and told me.  It just felt like a horrible, horrible nightmare.  I feel very fortunate — through my mom, I grew up loving perhaps the two most important icons in popular music – Elvis and the Beatles.  I specifically remember my mom buying Beatles VI for me at the grocery store. To this day that album is an important record to me.  I remember looking at the back sleeve with John wearing that polka-dot shirt and thinking he was the ultimate rock star.  I still think that to this day.  While I was certainly too young to see the Beatles live, I can say I’m a first generation fan who got into them in the sixties. I’ve released a couple of CDs on my own (1301 Highland Avenue, Happy Accidents and Sonic Crayons) and I can say with certainty that the Beatles and specifically John, have been the greatest influences on me.  His death felt as if I’d lost a family member.  There’s still a huge void and I think we all feel that.  Doing this book was my way of wanting to honor John’s legacy.

Daytrippin’: When did you conceive of the idea of the book and how did it come together?

Sharp: I think it was a few years back when I listened to the album again and started thinking that a lot of his other albums have received pretty extensive coverage but the story of Double Fantasy has always been somewhat obscured by the horrible tragedy that occurred less than a month after the album was released.  I thought I should investigate the idea of writing a book on the making of the album.  I started with a series of interviews with producer Jack Douglas and then the story started to unfold.

Daytrippin’: I’m surprised this book wasn’t attempted on the 10th or 20th anniversary of his death; it seems more appropriate for some reason this book is coming out approximately the 30th anniversary of his death.

Sharp: What I can say is that Andy Newmark, the drummer on the Double Fantasy sessions, recognized my passion and my sense of honoring the record.  I think he sensed I wasn’t going to do a hatchet job and that my intention was to present a ‘fly on the wall’ perspective from as many people as possible about the creation of the album.  He sensed the genuineness of my intentions and he helped open some doors with a few band members who were reluctant to speak.  Obviously, that helped open the door for the book to happen.  Since publication, the band has received copies and I’ve spoken to a few of them and they seem real pleased, Andy especially.  It meant a lot to me to get his approval and that his faith in me was rewarded.  I feel I delivered on my promise to assemble the most extensive chronicle of those times.  Maybe their reluctance to talk over the years was due to the sadness and somber nature that surrounded this great event in which they participated and was perhaps tainted by John’s murder.  If I can surmise, as the years have passed, they can embrace the positive, uplifting nature of those sessions.  John was on such a high and he was creatively reborn.  He was back to doing what he was meant to do, and that’s making music.  There’s always that sadness of the promise of “what would come next” that was stolen from all of us on December 8, 1980.

Daytrippin’: Yoko Ono granted you an interview.  What was your interaction with her and what role did she play in the shaping of this book?

Sharp: I’ve interviewed Yoko twice before and both times were at the Dakota, which was a very exciting thing for me to do.  I interviewed her in 1986 for the Live in New York City album and again in 1992 for Onobox.  She’s just fantastic and a very gracious lady.  I remember waiting in Studio One, the famous all-white office that is head-to-toe with file cabinets.  If you recall, there’s a few famous photos of John in that office:  one signing the back of Double Fantasy and the other of him reading a newspaper with his feet up on the desk.  We did the interviews in Yoko’s office, which is on the same floor.  It’s an intimate, beautifully decorated office with plush couches.  What really affected me was seeing in person the painting done of John and Sean Lennon in Bermuda, which hung in Yoko’s office.  John’s piano was also in the office and I remember playing a few chords on it.

Regarding this book, I reached out to her fairly early in the process and we did one interview.  Again, she was gracious as always.  I have a feeling it was a little painful for her to speak about that period but she was a trooper and very forthcoming.  I’ve never had anything but positive dealings with her.  I like her songs on Double Fantasy and believe they pointed the way towards a very futuristic sound.  Ironically, John was right about Walking on Thin Ice being her breakthrough record. The evening of December 8th, John told her as they finished that session, “Mother, I think you’ve just made your first No. 1 record.”  Now, it wasn’t No. 1 immediately, but it was her first No. 1 record on the dance charts and she’s had a few since.  My experience with her was completely positive.  She didn’t have a role in shaping the book beyond being one of the few key people that I interviewed.

Daytrippin’: Why did you decide to make this an oral biography?

Sharp: I like to utilize the format. In a sense when constructing an oral history, I approach it like a filmmaker, in that sense, sculpting the voices of the people I spoke to.  It also helps to tell the story as seamless as possible, and doesn’t allow me, the writer, to pontificate or speculate.  This is told by all the people who were there as it happened.  By the way, the last interview I did was with renowned photographer Annie Leibowitz.  As you can imagine, she’s a very busy lady and initially when I reached out to her. She was not available.  It turned out to be a very busy period for her.  I approached her again near the end of the book because I felt that for the “December 8th” chapter, I wanted to revisit the events of the day without getting into the tragedy that later unfolded and I felt she was a crucial voice.  So I went to her again and through a good friend of mine, Bernie Hogya, who worked with her on the “Got Milk?” campaign, she said yes.  It turned out to be a great interview.  So great that she got so emotional in the middle of the interview that she started crying a little bit.  It was sad but it also conveyed the deep well of love she had for both John and Yoko.  She wasn’t just a photographer, she was a friend to both of them.  For me, that being the final interview was a great way to close out the book.

Daytrippin’: I get the sense from reading your book that all the session players and engineers had a genuine affection for John Lennon.

Sharp: It is apparent when you read this book that John was such a strong spirit and certainly was a three-dimensional character.  He was a real person and that’s what we connect with.  The people on those sessions were all new in working with John and Yoko, and brought an excitement to the project.  In speaking to everyone, there was such a sense of joy and rebirth in the air for the sessions.  Everyone I spoke conveyed a deep love and affection for John as well as Yoko.  And I hope that Yoko will be proud of this book because it’s an honest but very uplifting chronicle of the time.  For me it was a matter of historical record to get it down on paper while all of these folks are still with us.  It was such a key and pivotal part of John’s and Yoko life, that I feel very fortunate and privileged to be the one who did it.

Daytrippin’: I know at the time a lot of fans and especially critics, thought that Double Fantasy was the ‘househusband’ John and didn’t really get the whole ‘joys of domesticity’ message.  How, in your opinion, has that changed over time?

Sharp: Well, it’s interesting that you say that because when the album did come out it did receive mixed reviews.  There were some who loved Double Fantasy and some who were disappointed.  Surprisingly, Yoko was the one being championed as the avant-garde artist and some critics were a little disappointed in John’s songs.  I believe a lot of the critics wanted the angry John; the John who was filled with angst and rage; the Plastic Ono Band John.  There were critics who wanted the cutting edge John and this was a different man.  He was 10 years older; the guy who was a househusband for five years.  He extolled the joys of domesticity, being a househusband, being a father.  Of course, “I’m Losing You” carries some of the pain and angst of the old days.  He painted his life in song so yes, there were some critics who didn’t like the album.

In the book I interviewed a slate of critics who reviewed the album when it was originally released and garnered their take on the record. One of those was British music writer, Charles Shaar Murray who originally reviewed the record for the New Musical Express in England.  He slammed John’s songs and championed Yoko’s.  His opinion has since changed and that’s because he’s now in the place that John was when he originally wrote Double Fantasy.  He’s reevaluated the work and is much more objective about it today, which I felt was an interesting take and an important point to address.

Daytrippin’: How do you view producer Jack Douglas’ role in the shaping of Double Fantasy?  He says in your book (and I think he’s just being humble) that he stayed in the background and let it happen because John was such a force of nature.  There’s no doubt that his assembly of this studio team for Double Fantasy was brilliant.  What credit should he rightfully get for this album?

Sharp: I think he deserves major credit, especially for allowing John to lead but providing the solid expertise when he needed to intercede.  He had major success with artists like Cheap Trick, Aerosmith, Alice Cooper and Miles Davis and it’s ironic that while he was working with John on Double Fantasy, his major act, Cheap Trick, was working with George Martin on the All Shook Up album.  I think Jack was someone who not only valued John but Yoko, and someone who knew his place and knew when to intervene on a creative level.  I also think he was able to create a real positive environment in the studio as well, which is crucial.  By creating that environment, as a performer it inspires you to even greater heights.  Jack was able to connect with the right players and surround John with a team that made him feel comfortable and inspired.

Daytrippin’: Your book also revives the theme once again that Lennon liked to work fast in the studio. Can you comment on the speed in which Lennon worked and perhaps why?

Sharp: I think it goes back to the days of the Beatles when they knocked out three songs in a session.  That’s the way he grew accustomed to recording, but there was also another aspect and that he wanted to capture the moment, the freshness of the song.  He was impatient and had the mindset of, “Let’s just do it.  Let’s capture it and move on.”  There’s an authenticity to his songs because of it.

Daytrippin’: The Cheap Trick saga in this book was absolutely fascinating.  How did you hook up with Rick Nielsen and Bun E. Carlos, and what were their memories of those sessions?

Sharp: I co-wrote a book on Cheap Trick with Mike Hayes called Reputation is a Fragile Thing: The Story of Cheap Trick. That came out over 10 years ago, and they’ve always been one of my favorite groups.  In many ways, the Cheap Trick chapter is one of my favorites in the book.  I recently received a really nice compliment from the band’s drummer, Bun E. Carlos, who said of all of the accounts he’s read, mine is the best and most accurate one.  That made me feel really good.  I was always fascinated by those sessions.  I remember hanging out after a Cheap Trick show in 1985 in Philadelphia where they were sharing a bill with R.E.O. Speedwagon.  On a little walkman, Bun E. Carlos played “I’m Losing You” and “I’m Moving On.”  You don’t forget hearing something like that – it was a mind-blower.  I loved their raw and primal Plastic Ono Band approach to those songs.  So because of that history, I’ve always been fascinated with those sessions.

Cheap Trick was obviously heavily influenced by the Beatles and John Lennon, and when I told them I was working on the book and who I had spoken to for this project, both Rick Nielsen and Bun E. Carlos consented to speak to me and they both supplied a great interview.  I wanted to create a chapter that would be the final word on those sessions.  The story is that they came in for one day and Rick was on guitar, Bun E. on drums, Tony Levin on bass, George Small on keyboards and John was playing guitar and singing.  They knocked out two songs and John seemed to be really happy with them.  Rick presented John with a white Hamer guitar, and I tracked down an image of it in the book. To see a photo of John playing that guitar in the studio was pretty mind-blowing for me.  The other interesting thing was the day they did the session, Rick’s son Daxx was born.  He remembers smoking cigars with John and John showed Rick his Rickenbacker guitar.  There’s also a great little story in the book about how the band found all of these guitar picks leftover from the session where Rick had flicked them just like he does in concert. And four our Cheap Trick book, Bun E. Carlos kindly allowed us to reproduce a piece of sheet music for “I’m Losing You” that John signed.  He wrote, “To Bunny, enjoyed the hop.  Love, John Lennon.”  John didn’t know his name was spelled Bun E. and Bun E. certainly wasn’t going to correct him.  I also found the pun quite funny as well.  Could there be a cooler possession in the world?

Daytrippin’: Why were those tracks not used on Double Fantasy?

Sharp: There’s a story in the book about John being upset that the session was mentioned in Rolling Stone but I’m not convinced that’s the real reason. I believe it’s simply due to the fact that the versions they did were so raw and so different than the lush and polished nature of the other tracks.  It didn’t mesh with the rest of the album and would have stuck out like a sore thumb.  I think that’s the real reason why they were not used the first time around, but I’m glad “I’m Losing You” was officially released on [John LennonAnthology.  I’d also like to see “I’m Moving On” get officially released as part of a Yoko project.

Daytrippin’: Another great story in the book is the tale of Matthew Cunningham, a street musician who played hammer dulcimer and was recruited by Jack Douglas to play “Watching the Wheels.”  Can you recall for the readers the hilarious exchange Lennon and Cunningham had in the studio?

Sharp: Jack Douglas brought in Matthew Cunningham, who was a hippie long-haired street musician and he seemed like he was in the dark about who he was doing the session for.  He was playing a little out of tune and John was in the control room and speaking to him on the talkback button.  Cunningham squinted his eyes, looking at the control room window, but couldn’t see who it was.  He asked, “What’s your name?”  John replied, “My name’s John,” but never let on to Cunningham he was John Lennon.  Cunningham said, “Hi, John.”  And then John says, “Hi, Matt.”  Everyone in the control room was laughing because this poor guy Cunningham didn’t have a clue as to what was going on.  But two days later he finally figured it out and called Jack Douglas on the phone to ask, “Did I just play for John Lennon?”  Douglas said, “Yeah, you did.”  He was paid something like $200.  I tried to find Cunningham, too, but I was unsuccessful (laughs).  But that is a wonderful story and shows the openness of John and Jack to bring someone in off the street to add a little sparkle to the sessions.  It’s one of Double Fantasy’s great surprises.

Daytrippin’: I’m still a little confused on the sessions for Milk and Honey.  Were those songs semi-recorded during the Double Fantasy sessions and put on the shelf and then finished after Lennon died?

Sharp: Essentially, yes.  They would lay down tracks, but then later there were additional overdubs on Milk and Honey.  I think the songs that grabbed them at the sessions that they felt they could flesh out and felt were more immediate at the time, were the ones that ultimately comprised Double Fantasy.  Ironically, the first track that was recorded for all of those sessions was “I’m Stepping Out.”  It’s a great track and one of the best on Milk and Honey and certainly would not have been out of place on Double Fantasy.  Perhaps it was Jack Douglas who honed in on the songs that were connecting a little quicker and could sculpt and get in the can for an album.  These two albums are truly brother and sister, Yin and Yang and equal in terms of content.  A great sadness for me was that “Grow Old With Me” was never done the way John had envisioned.  In the new Box of Vision set, there are some handwritten lyrics for the songs on both of those sessions and he had listed he wanted to use bagpipes on that song.  The haunting demo certainly has its own magic but I would have loved to have seen “Grow Old With Me” really fleshed out.

Daytrippin’: Your book also shows, through the words of those who were there at the time, that John and Yoko were in love with each other and he was very happy at the end of his life.  I’ve heard so many different things over the years.  What are your thoughts on this particular subject?

Sharp: If he wasn’t happy, he really put on a good front for all of those musicians and I just don’t think that was the case.  The music really shows his joy at the time; the joy of being back in the studio and Lennon never could fake it.  That wasn’t in his character.  I spoke to all of the studio musicians and Jack Douglas and the only thing that was ever conveyed to me was how much in love they were and how they connected as husband and wife and as creative partners.  The record was subtitled “A Heart Play” and it was a dialogue between husband and wife.  It was an intense relationship, and seemingly they were in a really good space.  I just don’t think you can fake that.

Daytrippin’: Starting Over has the most detail I’ve ever read regarding John’s plans to tour again.

Sharp: According to the people I spoke to in the book, a tour was going to happen in the spring of 1981 following the release of another record, which I guess would have been Milk and Honey.  There was a dinner commemorating the end of the sessions where there was specific talk of players’ availability and confirmation that John was going to hire them to go out on the road.  Yoko mentioned that John was going to perform Beatles songs like “I Want To Hold Your Hand” and “She Loves You.”  Wow, can you imagine John singing those songs? I would have loved to have seen John sing “Help.”  Ideas regarding the production of the show were bandied about, talk of a futuristic spaceship with a mechanical Octopus arm.  Earl Slick, who was very much an in-demand session player at the time, said John spoke to him of setting aside some time to tour.  For me, that was a very exciting part of the book to explore and uncover.  Ultimately, we’re talking about a mythical tour but just to even imagine it is exciting. John was in that mind space and so free and open to new ideas and opportunities, he was going to face the world again in a very spectacular fashion and on his own terms.

Daytrippin’: The saddest part for me was that Double Fantasy was not only John’s big comeback, but that Act III of his personal and professional life was wiped out by a madman. How hard was it for you to compile this book, knowing that doom was right around the corner for Lennon?

Sharp: I spent very little time on the tragedy.  I feel that’s for other books to examine. My focus was on the sessions, the idea to reconstruct that entire period leading up to the release of the album. During the whole process of recording the album and in the months afterward, John was really enjoying himself and was on a professional upswing.  It was a time of creative birth and renewal.  I made a very conscious decision not to cover his murder in any depth. However, I do think the chapter “December 8, 1980” is a pretty powerful one because it does provide a “fly on the wall” perspective as to what he was doing that day on a creative level, starting with the Annie Leibowitz photo session through the RKO interview through the final “Walking on Thin Ice” session.

Daytrippin’: Why does Double Fantasy still touch people 30 years after its release?

Sharp: I think the album still resonates because everything John Lennon did resonates.  He was real, he was authentic.  He was just like us.  I also think the fact that he was espousing the joys of domesticity and family, a subject certainly everyone relates to, especially as we grow older.  You can also sense a great joy in the record.  And as we grow older, the songs mean more to us.

Starting Over: The Making of John Lennon and Yoko Ono’s Double Fantasy is available on www.amazon.com.

Marshall Terrill is the author of more than a dozen books. His latest, Steve McQueen: The Life and Legend of a Hollywood Icon (Triumph Books, 2010) is available at www.amazon.com

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Yoko Ono and EMI to release remastered John Lennon albums in October

Photo Credit: Iain Macmillan (C) Yoko Ono

During the week of October 9, 2010, the day which would have been John Lennon’s 70th birthday, eight of John Lennon’s classic solo albums will be released in new digitally remastered editions. Overseen by Yoko Ono, John Lennon’s “Gimme Some Truth” campaign will launch on October 5 with the worldwide release of John Lennon/Plastic Ono Band (1970); Imagine (1971); Some Time In New York City (1972); Mind Games (1973); Walls and Bridges (1974); Rock ‘n’ Roll (1975); Double Fantasy Stripped Down (2010) / Double Fantasy (1980) and Milk and Honey (1984).

Several newly-compiled titles will also be released including a newly remixed ‘Stripped Down’ version of Double Fantasy, 1980’s GRAMMY Award winner for Album of the Year, remixed and produced by Yoko Ono and Jack Douglas, co-producers of the original mix with John Lennon. The new stripped down version of the album comes in an expanded 2CD and digital edition pairing the new version with Lennon’s original mix, remastered.

Yoko Ono commented: “Double Fantasy Stripped Down really allows us to focus our attention on John’s amazing vocals. Technology has advanced so much that, conversely, I wanted to use new techniques to really frame these amazing songs and John’s voice as simply as possible. By stripping down some of the instrumentation the power of the songs shines through with an enhanced clarity. Double Fantasy Stripped Down will be complemented by the original album in the 2CD format. It was whilst working on the new version of this album that I was hit hardest emotionally, as this was the last album John released before his passing.”

The campaign’s other new collections include: a hits compilation in two editions titled Power To The People: The Hits; a 4CD set of themed discs titled Gimme Some Truth; and a deluxe 11CD collectors box with the remastered albums, rarities, and non-album singles, titled the John Lennon Signature Box.

Yoko Ono said: “In this very special year, which would have seen my husband and life partner John reach the age of 70, I hope that this remastering / reissue program will help bring his incredible music to a whole new audience. By remastering 121 tracks spanning his solo career, I hope also that those who are already familiar with John’s work will find renewed inspiration from his incredible gifts as a songwriter, musician and vocalist and from his power as a commentator on the human condition. His lyrics are as relevant today as they were when they were first written and I can think of no more apposite title for this campaign than those simple yet direct words ‘Gimme Some Truth’.”

Power To The People: The Hits gathers 15 of Lennon’s most popular songs, and will be available as a 15-track single-disc and digital package, and as an Experience Edition with additional content. Both versions will be packaged in digisleeves with booklets including a new liner note essay by Du Noyer.

Gimme Some Truth, to be packaged in a slipcase with rare photos and a new liner notes essays by respected American music journalist and author, Anthony DeCurtis, presents 72 of Lennon’s solo recordings on four themed CDs: ‘Roots’ – John’s rock ‘n’ roll roots and influences; ‘Working Class Hero’ – John’s socio-political songs; ‘Woman’ – John’s love songs; and ‘Borrowed Time’ – John’s songs about life.

The John Lennon Signature Box is a deluxe 11CD and digital collection of the eight remastered albums, a disc of rare and previously unreleased recordings, and an EP of Lennon’s non-album singles. The CDs will be housed in digisleeves within a deluxe box including a collectible limited edition John Lennon art print and a hardbound book featuring rare photos, artwork, collages, poetry, and new liner notes by DeCurtis.

For more info, visit http://www.johnlennon.com

(Source: Press Release)