By the late ’70s, John had taken a break from recording to raise his son Sean (born October ’75). But the Rolling Stones continued to soldier on as a band, and in summer ’78 released Some Girls. “Miss You,” that LP’s lead single, topped the Billboard charts in August. When Lennon heard it, he thought it sounded familiar.
“I think Mick Jagger took ‘Bless You’ and turned it into ‘Miss You,’” John told David Sheff in 1980. “The engineer kept wanting me to speed that up. He said, ‘This is a hit song if you’d just do it fast.’ He was right. ’Cause as ‘Miss You’ it turned into a hit. I like Mick’s record better.” John made it clear he didn’t hold anything against Jagger and the Stones for what he believed was a swipe. “I have no ill feelings about it. I think it’s a great Stones track, and I really love it,” he told Sheff. “But I do hear that lick in it. Could be subconscious or conscious. It’s irrelevant. Music is everybody’s possession. It’s only publishers who think people own it.”
John walked the walk on that front after he heard Rod Stewart’s ‘The Killing of Georgie,” which sounded an awful lot like “Don’t Let Me Down.” In that case, Stewart’s track came a lot closer to John’s work than “Miss You” did to “Bless You.” But no legal action took place in either case. Though the Stones continued scoring top 10 hits on the Billboard Hot 100 in the ’80s, “Miss You” remains the last No. 1 hit the group had in America. The song seemed to strike just the right chord at the moment disco was nearing its peak in popularity.
Ironically, Stones bassist Bill Wyman thought people in turn borrowed from his band’s work. “I did the [bass] riff for ‘Miss You,’ which made the song,” Wyman said in a 2002 interview with Ian Fortnam (via Rock’s Backpages). “Every band in the world copied it for the next year — Rod Stewart, all of them.”
As for Stewart, whose name popped up twice in this discussion of songs that resemble other songs. Rod used to think Led Zeppelin copied the Jeff Beck Group’s concept. But Zeppelin’s members laughed it off.
As we celebrate Father’s Day today, Julian and Sean have paid tribute to their dad with a couple of touching childhood photos. Julian Lennon, shared a picture as a boy with his dad. The father and son are seen sitting on a sun lounger, with Julian in a towel from having been for a swim. While John is shown wearing a Mickey Mouse T-shirt, hat and his iconic round sunglasses.
As for Sean, he shared a childhood photo with his dad across eight Instagram posts. Sean’s snap shows a bearded John in sunglasses and a Panama hat, while holding up his son in a Hawaiian shirt.
Last October marked what would have been John Lennon’s 80th birthday and his sons took part in a special BBC Radio 2 programme to celebrate their father.
Both Paul McCartney and Elton John took part, sharing fond memories of their dear friend.
During the interview, Sean asked Julian if he remembered when he first realised that their dad was in The Beatles. Julian said: “I guess [I realised] dad was a different character. Even back in the day at Kenwood when I was two or three and I used to go to Kindergarten.
“The gates at the lower driveway of the property – there would be fans there every morning; screaming outside the doors at that point.” He shared how he would toddle through the front gates, past fans, on his way to visit the maid’s kids.
He added: “They were all very protective and kind fans. Mostly women, of course. Even then you realise, ‘okay, something’s up’.” Sean also shared when he first realised their dad was famous and a member of The Beatles. He said: “I remember Dad playing guitar and playing piano.” He too remembered lots of fans waiting around outside their home to get autographs.
Additionally, Julian shared how in 1968 he attended The Rolling Stones Rock and Roll Circus with his parents.
Julian, who was just 5-years-old at the time, said: “I remember high ceilings and all I could see was a corridor and a purple light shining around a corner. “I just remember hearing Whiter Shade of Pale and that stuck with me forever. There are flickering memories of being there.”
He even met The Rolling Stones’ Brian Jones there, who died a year later at the age of just 27.
While John played in a supergroup called The Dirty Mac alongside Eric Clapton, Mitch Mitchell and Keith Richards.
John Lennon did got fine recordings done. Take Walls and Bridges (1974) for example.
Though John considered the album a downer, mood-wise, the self-produced LP stands as a great piece of work. If you wade through the darkness of “Scared” and (to a lesser extent) “Going Down on Love,” you even encounter some indisputably beautiful songs. “#9 Dream” counts among them.
While composing that track, John looked back to producing work he did on Pussy Cats, the ’74 release by his “Lost Weekend” drinking buddy Harry Nilsson. During those sessions, John came up with a strong arrangement for Nilsson’s cover of Jimmy Cliff’s “Many Rivers to Cross.” John built on that for his second Walls and Bridges single.
John didn’t always speak of “#9 Dream” in the most flattering way, but he did rate the arrangement he’d done for Nilsson’s highly. “I wrote [“#9 Dream”] around the string arrangement I’d written for ‘Many Rivers To Cross,’” John said in an interview. “And it was such a nice melody on the strings, I just wrote words to the string arrangement; a psychedelic, dreamy kind of thing.”
As for those words, along with some poetic phrases (“Through the heat whispered trees”), John used a repeated nonsensical phrase for the chorus. “Ah! böwakawa poussé poussé,” he sings. John said that part of the lyrics came to him in a dream.
May Pang, Lennon’s girlfriend during the time, recalled him writing down the strange sounds/words after waking up from a dream.
“He had no idea what it meant, but he thought it sounded beautiful,” Pang wrote on her website MayPang.com. “John arranged the strings in such a way that the song really does sound like a dream.”
Though John later dismissed “#9 Dream” as the work of a craftsman, Pang has attested to his love of the song. And, after all, John chose it as the next single from Walls and Bridges following the success of “Whatever Gets You Thru the Night” (featuring Elton John).
“#9 Dream” didn’t hit No. 1 like the lead Walls and Bridges single, but it still made a strong showing. In February ’75, it reached its peak, at No. 9 on the Billboard pop charts.
Powerful, poignant, important and beautiful are all words that describe Imagine – both the title song and the LP that was John Lennon’s second solo album release, in the autumn of 1971. One song does not make a great album, even when it is as seminal and defining as Imagine… and make no mistake this is a great album, full of brilliant songs, with great hooks, but with John’s acerbic wit ever-present to avoid it from becoming the kind of music that John found irrelevant and meaningless.
“The concept of positive prayer … If you can imagine a world at peace, with no denominations of religion—not without religion but without this my God-is-bigger-than-your-God thing—then it can be true.” – John Lennon
John began work on the album that was to become Imagine a little over three months after finishing John Lennon/Plastic Ono Band. Recording his new album was done in three separate stages, the first between 11 and 16 February, followed by another from 24 to 28 May, before some final overdubs and mixing in New York over the 4th of July weekend. The earlier sessions were at Abbey Road and the May sessions were at the Lennon’s home studio at Tittenhurst Park, the New York sessions in July were at the Record Plant.
Imagine is a very different album from the one that went before it, as John told David Sheff in 1980, “The album Imagine was after Plastic Ono. I call it Plastic Ono with chocolate coating.” From the stark, but brilliant John Lennon/Plastic Ono Band this record is more instantly accessible, but let not that fool you into thinking John had gone soft. And like his previous album, Imagine has Yoko Ono’s influence all over it and no more so than in the brilliant title song.
Yoko’s poetry, included in her 1964 book Grapefruit, helped inspire John’s lyrics for ‘Imagine’, and also influenced the cover of the album. In Yoko’s poem, ‘Cloud Piece’ it includes “Imagine the clouds dripping, dig a hole in your garden to put them in.” John later said ‘Imagine’, “Should be credited to Lennon/Ono. A lot of it—the lyric and the concept—came from Yoko, but in those days I was a bit more selfish, a bit more macho, and I sort of omitted her contribution, but it was right out of Grapefruit.”
“The World Church called me once and asked, “Can we use the lyrics to ‘Imagine’ and just change it to ‘Imagine one religion’?” That showed [me] they didn’t understand it at all. It would defeat the whole purpose of the song, the whole idea.” – John Lennon
Just what is it that makes ‘Imagine’ such a perfect recording? From the opening bars of John playing the piano the song stakes its claim on our senses. The clever way the track is produced, to move the seemingly distant piano from the centre to the full stereo pan helps to accentuate John’s plaintive, and vulnerable, vocal. The subtly beautiful strings, scored by Torrie Zito, play their part in making this song the very creative peak of John and Yoko’s working together.
The earlier sessions, at Abbey Road, took place during the recording of the single, ‘Power To The People’ and because Ringo was unavailable, Jim Gordon from Derek and the Dominos was drafted in to play drums, along with Klaus Voormann on bass. ‘It’s So Hard’ and ‘I Don’t Want To Be A Soldier’, were begun at the February sessions, with King Curtis adding his saxophone to the former in New York in July, while the latter song was substantially reworked at the May sessions. At Abbey Road, they also recorded Yoko’s, ‘Open Your Box’ that became the b-side of ‘Power To The People’.
‘It’s So Hard’ has more of the paired down Plastic Ono Band feel to it and as such it is the musical bridge to John’s solo debut. It’s a 12 bar blues and the addition of Zito’s string arrangement (overdubbed at the Record Plant) along with King Curtis’s saxophone make it a more “traditional” song than most of what appears on John Lennon/Plastic Ono Band.
‘I Don’t Want To Be A Soldier’ was reworked at the May, Tittenhurst sessions and aside from Lennon and Voormann it features a much larger band including George Harrison on slide guitar, the brilliant Nicky Hopkins on piano, Joey Molland and Tom Evans from Badfinger play acoustic guitars, drummer Jim Keltner and Alan White plays vibraphone; later in New York King Curtis added his saxophone flourishes. The song is one of Lennon’s simplest lyrical numbers but in simplicity there is power, and the power is made even more significant by the hypnotic music that is both relentless and persuasive; Zito’s strings are again a superb addition to the whole feel of the song.
In the five days at Tittenhurst, in addition to ‘I Don’t Want To Be A Soldier’, John and the assembled musicians recorded, ‘Crippled Inside’, ‘Jealous Guy’, ‘Gimme Some Truth’, ‘Oh My Love’, ‘How Do You Sleep?’, How?, ‘Oh Yoko!’ and the album’s title track. George plays some great dobro on ‘Crippled Inside’ and it is further enhanced by some trademark “diamond trills” from Nicky Hopkins on the piano. The spirit in which this record was made was helped by recording so much of it at John and Yoko’s home. It feels personal and with the Lennon’s again producing it, with help from Phil Spector, it heightens the sense of intimacy.
“It was good to have breakfast in our own home and walk right into the new studio next to it.” – Yoko Ono
‘Jealous Guy’ has become one of John’s best-known songs, helped in no small part by it having been covered by Roxy Music in early 1981 and taken to No.1 on the UK charts. But it is a song that is ‘so John’, and its one that had its beginnings in India in 1968 before its full flowering when John rewrote its original lyrics that capture the feelings of a man in a love relationship or possibly it gives another view as to how John felt over the break up of the Beatles. Whatever, it is about, this is consummate songwriting as John tackles a subject that most of us would prefer to keep under wraps.
Acerbic and political, ‘Gimme Some Truth’ highlights John’s way with words and succinctly sums up so much of what made John tick. John, always ahead of his time tackles the question of political leadership – just as relevant today as in 1971 – and this song acts as the bridge to what would follow in John’s songwriting over the coming years.
‘Oh My Love’ is a beautiful and tender song, enhanced by George’s delicate guitar playing and John and Yoko’s wonderful words. From tenderness to harsh reality with ‘How Do You Sleep?’, arguably the most notorious song on the album. Pigeonholed as John’s attack on Paul it is best explained by John himself.
“It’s not about Paul, it’s about me. I’m really attacking myself. But I regret the association, well, what’s to regret? He lived through it. The only thing that matters is how he and I feel about these things and not what the writer or commentator thinks about it. Him and me are okay.”
And then it’s immediately back to the soft side of John with, ‘How?’ and while it would be lyrically at home on his previous LP, its production is definitely of the “chocolate coating” variety. The album’s final song is the uplifting and beautiful, ‘Oh Yoko!’, a simple song, but one that is simply lovely. Phil Spector sings the harmony and at the time of the album’s release, EMI wanted to put it out as a single. John refused and if he hadn’t? It would have been a massive hit. It’s a song that just draws you in and makes you feel good.
John Lennon’s 1973 album Mind Games, touched on many themes and vignettes from John’s life – but this time avoided overtly political themes. Over the course of just 18 months, John Lennon recorded his first three solo albums, beginning with John Lennon/Plastic Ono Band in September 1970, Imagine that was finished in July 1971, and Some Time In New York City that was completed in March 1972. His last album had politics oozing, and sometimes shouting, from every microgroove and it had been the least well-received of the three by critics and public. In the ensuing year he uncharacteristically spent little time composing and he also, starting in early 1973, began to distance himself from the political activities that had brought so much unwanted attention from both the US Immigration Service and the FBI. Then in July 1973 at the Record Plant in New York City, John was back doing what he did best. Two months after the release of Some Time In New York City, a dark period began for John and Yoko. On 7 November 1972, Nixon won one of the largest landslide victories in American political history and it so depressed John that he got blind drunk at Jerry Rubin’s home on the night of the election. So drunk that he took a woman into one of the bedrooms and had sex with her. Yoko and the other partygoers were in an adjoining room and heard it all. “Something was lost that night for me,” said Yoko, “living with John was a very trying situation. But I thought I would endure all that for our love.” It was against this backdrop that Mind Games was largely written and recorded.
Yoko had started work on a solo album that became ‘Feeling The Space’ with musicians that had been put together with help from their great friend and engineer, Roy Cicala. John liked what he heard and asked Roy to book the same musicians so that he could start recording again; notably guitarist David Spinozza, keyboard player Ken Ascher and drummer Jim Keltner. For John, his marital difficulties with Yoko were compounded by the issues and effects of his involvement with radical politics: “I just couldn’t function, you know? I was so paranoid from them tapping the phone and following me.”
The month before recording began, John and Yoko moved uptown from Greenwich Village to The Dakota, an apartment building located on the northwest corner of 72nd Street and Central Park West. John stopped working with Phil Spector as a co-producer and because of John and Yoko’s issues, Mind Games was produced solely by Lennon. It was recorded in John’s usual quick-fire fashion, And like Some Time in New York City, it touched on many themes and vignettes from John’s life – but this time it largely avoided overtly political themes.
It opens with the album’s title track, a song that dates back to 1970 when it had had the working title of ‘Make Love, Not War.’ Above all else, the song signals John’s intent of returning to his more normal territory as far as song subject matter is concerned. It became the only single to be released from the album.
John’s chronicling of his own life features on many of the tracks on Mind Games. There’s ‘Aisumasen (I’m Sorry)’ that reflects on John’s relationship with Yoko and the hurt he felt at the hurt he had inflicted. Aisumasen is Japanese for sorry. It is one of Lennon’s most melancholic of songs, one in which sees himself cast adrift. It was during the recording of the album that Yoko suggested that she and John have a trial separation and that May Pang would be the perfect companion for Lennon. With heartfelt honesty, Yoko later said, “Hey, it’s John Lennon. It was obvious to everybody, except to John, that I was the loser. Every man and woman of our generation was going to be happy that finally, I was not around their hero.
Other songs inspired by their love and their difficulties are, ‘Out The Blue’ in which John expresses his doubts over their separation. The beautiful ‘You Are Here’ is a love song to Yoko and it’s hard not to be affected by John’s ability to lay his feelings bare; the song is made more affecting by Sneaky Pete Kleinow’s pedal steel guitar. On ‘One Day (At A Time)’, John sings in his falsetto voice and his notion in this song is that two parts are made bigger than their individual size when they are brought together in love. It features a classic saxophone solo from Michael Brecker on one of his earliest sessions.
As with just about every Lennon solo album, his love for the music that inspired him is ever present. ‘Tight A$’ with shades of 1950s rockabilly and country-rock picking is one of Mind Games’ nods to his formative years. On ‘Meat City’ John’s innate love of rock ‘n roll shines through, and he makes his point further by singing “Just got to give me some rock ‘n’ roll.”
John did make a brief return to politics on Mind Games, but in a far wittier and lighter fashion than on his previous album. ‘Bring On The Lucie (Freeda Peeple)’ was no less biting, and perhaps it was more effective as a result.
Released on 29 October 1973 in America, and 16 November in the UK, Mind Games has cover artwork created by John himself. The album made No.13 in Britain and got to No.9 in the US.
On December 11th, 1968, The Rolling Stones wanted to put on a very unique performance: a circus extravaganza played for a small audience and recorded to be aired on BBC. Played under a big top, the “circus” included strongmen, trapeze artists, a boxing kangaroo, and even a live Bengal Tiger. Joining the Stones were some of the greatest musicians of all time, including John Lennon,The Who, Jethro Tull, Taj Mahal, and Eric Clapton.
While post-production problems and lost film meant the final recording was only eventually released in 1996, the once-in-a-lifetime festival still held many important moments in musical history.
The First Lennon Performance Since The Beatles’ 1966 Tour
It is easy to forget sometimes that the last tour by The Beatles was less than halfway through their lifespan. In December 1968, the band had just released The White Album while John and Yoko also released Two Virgins.
For The Rolling Stones’ event, John and Yoko were invited to join Eric Clapton, Mitch Mitchell, and Keith Richards to perform as the supergroup “The Dirty Mac.”
The only time the group played together, they performed “Yer Blues” and improvised a piece called “Whole Lotta Yoko” it involved jazz and blues music over free-form vocalizations provided by Ono.
In a very “Lennon-esque” move, the still-current-Beatle introduced all band members by name, but identified himself instead as “Winston Leg-Thigh”.
Perhaps the saddest moment in the show, though only known in retrospect, was the final performance of The Rolling Stones with Brian Jones present. According to Michale Lindsay-Hogg, the director for the “circus” and later director for The Beatles’ famous rooftop performance, “[Jones] couldn’t really contribute at all on the guitar, except for a few chords.” Six months later, Brian Jones was found motionless in the bottom of his swimming pool. He passed away at the age of 27.
For many Rock ‘n’ Roll historians, the “circus” was a turning point in sixties rock acts.In the film that was eventually released in 1996, Marianne Faithful stated the truth many were not ready to admit: “There was an apocalyptic air about the whole thing.” One year later, The Rolling Stones played the fateful concert at Altamont.
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