Opening Night

 

John on the opening night of the Sgt. Pepper musical on Broadway 

Dracula Schmacula (1974)

Dracula Schmacula 

By Tom Dupreee

Zoo World

June 6, 1974

    With searchlights, hearses, a hot air balloon, a Dracula makeup contest, a street dance, and assorted other promotional avenues, the new film Son of Dracula suddenly slid into town in its world premiere engagement, escorted by its two principal actors, Harry Nilsson and Ringo Starr. It wasn't the biggest party in Atlanta since Gone with the Wind, but they tried. They tried.

     Nilsson, who has the title role, and Ringo, who plays an ancient Merlin the magician, hosted a press conference the afternoon of the initial showing to plump for the world's first rock and roll Dracula movie before attending the midnight preem at a North Atlanta shopping center.

     Although the two were ready for an arsenal of flip answers  ("Why did you decide to open the film in Atlanta?" Ringo: "Because nobody else would take it."), it was clear that Ringo had developed a serious interest in the technical side of filmmaking, perhaps as a result of his before the camera experience in the Magic Christian, 200 Motels, and the Richard Lester Beatles movies. 

    Ringo produced Son of Dracula after making a major script rewrite on the film, an experience which he doesn't particularly want to repeat, but which has made him anxious to direct a major project. His first attempt at film direction is a movie with Mark Bolan, which has not yet opened in the United States. "Film is a director's medium," says Ringo. "I have no desire whatsoever to produce any more. I want to stick with acting and direction, which is the extent of my interest, really."

     The movie, which Nilsson describes as a "science fiction horror musical about a boy and his bat," is the first of what may prove a new film form: the rock and roll monster movie. Since rock and roll and horror were many years staples of the drive-in movie crowd, this genre has strong commercial possibilities. Rock and roll movies, in their now hipper presentations (Mad Dogs and Englishmen, Woodstock) are still vying with horror films in outdoor theaters across the country. Why not combine the elements? Already, we have Paul Williams' Phantom of the Fillmore ready for release, and if it or Son of Dracula makes anything like a respectable amount of money, the floodgates will open. 

    "It's not the best film ever made, but I've seen worse," says Ringo of the movie, and most who saw it would agree with him. Ringo says the original script, which was presented to him, was "too flower power. The audience would have been asleep in 10 minutes." He decided to add some friction to the plot, and takes full responsibility for what's on the screen. And though Son of Dracula is not bad for a first try, its problem largely rests with that script. 

    The movie centers around Count Down, the son of Dracula, who was born a vampire and must glom necks for sustenance, but he is also into just about every kind of music there is, and occasionally he takes a break from the action to rush downstairs and perform with his band, which includes Keith Moon on drums. When Count Down comes of age, he will be crowned Overlord of the Netherworld, an occasion for which the assorted creeps of the Nether have been waiting for years. Doctor Van Helsing, Drac's enemy in the Bram Stoker novel, now his ally, noting Count Down's uneasiness over the coming affair proposes an operation which would take away his vampirism and implant within him the capacity for love, but would also wreck his claim to the Netherworld throne, and probably hack off its residence in the bargain. 

    Count Down agrees, though some monkey wrenches are thrown occasionally by a jealous rival for the throne, one Baron Frankenstein. I'll not spoil the ending. 

    The film features outstanding set designs and photography, and professional direction by Freddie Francis, a member of the Hammer Films Horror Corps, the guys who have spewed out those 40 or 50 beautiful British remakes of American classics with Peter Cushing and Christopher Lee, is often lovely to look at, but the movie's stilted script sires uninspired and unbelievable performances. The dialogue is too earnest to be funny in most places. There are amusing moments, most of them coming when the idea of a rock and roll vampire is explored. Yet it's too showbiz and tongue-in-cheek to appeal to anyone unfamiliar with the career of its two stars.

    If Son of Dracula didn't feature Ringo and Nilsson, in fact, it would have had about as much general- audience appeal as a dubbed Mexican monster movie on television. American horror fans are used to seeing corny Hammer plots pulled off with sophistication and personality and made believable. Among other weaknesses, with Ringo's first line, one irrevocably refuses to believe he is Merlin, but that's just the monster movie element.

     It is a field day for Nilsson fans, including as he does nine songs. Added as an afterthought, according to Nilsson, the original script didn't have music, and only one new song, "Daybreak", written for the film, and accompanying them with film scenes of Nilsson lip-syncing to the album tracks, most of them coming from Nilsson Schmilsson and Son of Schmilsson. Since Nilsson does not perform in public, those who doted on the songs in their album incarnations will find it interesting to see Harry wailing away with his band with no interference from the movie plot. 

    All the songs are set pieces having nothing to do with the action, except for "Without You," which is played under the operation scene, and "Day Break," which, with its lyrical connection to the vampire theme. Harry has, of course, been photographed as a vampire before on the album cover of  Son of Schmilsson. Although Ringo has played on the album (as Richie Snare) he has never seen the cover art until two weeks after he offered Harry the lead in Son of Dracula.

     As is obvious from the cover and Ringo's work with SOD, both say they love monster movies and wanted to make one of their own. "We felt that it was time," said Harry. Both are careful to emphasize that musical element of the show because, as Ringo said, "There hasn't been a good Dracula movie made since Bela Lugosi." When asked if he thought Son of Dracula could compare with Lugosi's performance, he quickly said "No."

     Nilsson and Ringo talked about other projects besides their movie. Both have Richard Perry-produced albums in the works, not counting Harry's new release, The Son of Dracula soundtrack, which includes all nine tunes and dialogue from the film. Ringo's to be cut in May. Did he have the cooperation from the rest of the Beatles, which marked his Ringo album? "The only one who's cooperated up to now is John, who says he's written a song for me," said Ringo, "But then the last one was largely coincidental. I was recording for the first time in America, and some of them wound up helping, and they're still my mates, aren't they?"

     For the 50,000,000th time, Ringo answered a reporter's inquiry into whether or not the Beatles were planning to get back together rather officially. "I would like to say here and now, no". When asked about the lawsuits that surround the dissolving Beatles, Ringo made a distinction between "the thing between the four of us and the thing against Alan Klein," and said that the priorities dictated resolutions of the thing which separates the four Beatles. "That's the most important thing, and everybody knows it."

     Although Son of Dracula is credited as an Apple film, it is being independently distributed in America by Cinematian Industries, the people who brought you Fritz the Cat and the Cheerleaders. The soundtrack is manufactured by RCA, Nilsson's record company on the Rapple label.

     RCA took over after the press conference and turned Harry and Ringo over to a city that has been fairly throttled by publicists. The stars drove from their downtown hotel in a Son of Dracula hears to the premiere's theater, where hundreds of people waited on Nilsson Boulevard and Stare Drive to greet them. In front of a cardboard facade built to resemble the battlements of a castle, a huge hot air balloon was surveying the parking lot scene. A street dance punctuated by the glare of searchlights. A local radio station had promoted a contest. The outstanding 10 makeup jobs worn to the premiere would win Harry Nielsen watches. Each entrant won a watch. 

    Harry and Ringo bounded from the car to the bandstand and waved a few waves. They did a short advertisement for the movie. "All of you can't get inside the theater tonight, but come back next week and bring your friends." And then located themselves in the back of the house, where they had as much fun watching Son of Dracula as everybody else did
 

The Generation Bridge (1974)

The original of the photo I cleaned up with A.I.

I used A.I. to clean up this photo because the original was faded and the newsprint had turned yellow.




 

The Generation Bridge

By Len Epand

Zoo World

July 18, 1974

    What do you do when Peggy Lee asks you to dinner? Well, if you're Paul McCartney, you don't just buy a bottle of rare champagne to show your appreciation. You sit at your piano and compose her a song. That's what Paul did when the McCartneys were to meet Miss Lee in London earlier this year, and that's why he and a most flattered Peggy, one of the greatest pop vocalists of the era, whose name is certainly known to as many people as the Beatles, were at the Record Plant Studio one day the first week in June.

     McCartney was producing his song "Let's Love" for the title track to what must be Peggy Lee's 40th album. After a hard day's work, Paul, unmustached and dressed sharply in a black satin shirt and washed-out blue jeans, and Peg, looking trim in a tan suede suit, having recently taken off some weight, and youthful, though at 54 years of age she could be Paul's mother, held a mini press conference/photo session around Studio C's grand piano. In high spirits, they casually sang a couple of songs together, elaborated on their surprising collaboration, then took the small mob into the control room to hear the finished track.

     "Well, of course," said Peggy to Paul. "I was a fan of yours before you knew about me."

     "No, that's not right," answered McCartney. "No, I was a fan of yours before you knew about me, Peggy. Yeah, I used to have records of Peggy. I did 'Til There Was You' because I had Peggy's record of it. So I've been a fan of hers for a long time, you know.

     "When she came to London, she invited us for dinner over at her hotel. So I thought, 'I'm going along to dinner. Well, I'm either going to take a bottle of champagne or a song.'"

    " I'd rather have a song any time," added Peggy. "I can always get some champagne, but it would be very difficult to get a Paul McCartney song written, especially for me."

    " So I took a song along, and Peggy said, 'Great, let's do it.' So we got a hold of Dave Gushin (who  with Peggy is producing the rest of the album) and really that's all there is to it. The logistics were no problem."

     "I was delighted, naturally," said Peggy, "and Linda didn't mind."

     "Let's Love," recorded with Paul on piano, is a simple romantic tune, with characteristic McCartney production. From the lone piano introduction, strings and woodwinds enter in stages as Peggy sings in her rich, becalming tones, "Lover, let's be in love with each other. Tonight is the night of the butterflies. Let's love."

     Paul and Linda stopped off in L.A. to record with Peggy and begin arranging for a future Wings tour. John Lennon visited them at the Beverly Hills Hotel before they left for Nashville, where Wings is presently working out material and breaking in a new drummer, Jeff Britton. During their six weeks stateside, they'll probably record. "When they tour," said McCartney's manager Brian Brolly, "they'll play in England and Europe before doing their first American concerts early in 1975."

     When with Peggy, McCartney, very much the gentleman, flatly refused to draw away attention by answering nagging Beatles reunion rumors. But when alone, he did respond to some questions.

     Does going to Nashville reflect a certain style he wishes to adopt? "No, no," he said. And will they record there? "We might actually. Yeah, you know why I seem a bit vague is I play a lot of stuff by ear. I don't really plan that much. So ostensibly, do you like that --ostensibly? We're going to rehearse." They've rented a farm and studio for that.

      How does he feel after selling 2 million copies of Band on the Run? "Aha, good." That's not a new experience, though?  "For me, solo it is."

     When someone asks if he thought the Beatles were that good, Paul replied, "I think it was that good, but I mean, when you listen to the tapes now, it wasn't that good. But you've got to take them in context. I mean, you listen now. Well, I mean, it kills me. There's no drums, no bass, no nothing. But in context for the time, compared with the records that were out, it must have been good." As solo artists, have they received undue criticism? "No. If people don't like it, they say they don't like it. That's criticism. But I think it's fair criticism. Most of what's gone down, I don't like it, but it's pretty fair."

     In May, when he was in town for the Academy Awards, Paul spoke to Robert Hilburn of the Los Angeles Times about how the Beatles went full circle and are probably finished. "I think it did go full circle, and if you try to make the circle stretch, it'll go into a spiral or something. We started off as four kids from Liverpool who wanted to become famous. We became famous, made all the records, all the statements, did the whole bit. Eventually, we came to a point where we wanted to split up. That's the end of the circle. If we try to get back on the circle, there may not be any circle to jump back on. That's the point. We have all started other circles, and it could get very complicated. The Beatles thing could carry on in a way just like a hobby," he concluded. "Just to keep the friendship alive, cause there is friendship there. I mean, we like each other. We dig each other a lot."

     Now Paul is understandably tired of Beetle's speculation. About to leave the studio, he was waiting in the parking lot for Linda, who was nowhere to be seen during the session, and he revealed how he felt about it. It's the same dumb questions all the time. I hate to say it, but it is with the same dumb leading answers. You know what I hate most of all, the same stupid answers every time. Yeah, uh, in mock serious voice. As far as I can see, the Beatles won't be regrouping.
 

Love this photo!

Photo by May Pang 

 May did such a nice job capturing father and son here.  That is such a genuine smile from John looking at Julian.   Please don't tell me that this is A.I.  Why do I have a feeling that it isn't really a May Pang photo and is A.I.?  Maybe because I have never seen a photo where John's hair was wavy like that?  Maybe because John's hand looks weird.  I want this to be a real photo though. 

McGear Interivew (1974)

 McGear Interview

The Write Thing

January/February 1975

    You shouldn't buy Mike McGear's new album McGear because it was done by Paul's brother, or produced by Paul, or half-written by Paul, or even played on by Paul. You should get it because it's a damn good album, maybe one of three bests of the year. 

    Mike's voice is very deep, very British, and very, very good. The production is tight with beautiful background instrumentation and the kind of songs that stay in your mind. It was supposed to be promoted heavily by Warner Brothers, but I haven't seen any publicity on it around here, where most stores have only one copy hidden under M in the rock section, not exactly overexposing him.

     Mike was on a coast-to-coast American promotional stint to plug the album. John Awarski from Cleveland, Ohio, took photographs of him there and sent us this interview by Janet Macoska.

 Q:  The "Liverpool Lou" record was that Scaffold or was that you?

 Mike:  That was Scaffold. Yes, I did the lead on it, just the lead singing.

 Q: On the other side, "Ten Years After on Strawberry Jam" (written by Paul and Linda), it's sorta like the Beatles... 

Mike:  It's not. That comes from my heritage, you see. It comes from all our heritage.

 Q Is that you doing the voices?

 Mike:  We were all doing it, but it may be that I had the strongest influence on it because we were talking about the old days. We had had a few drinks. I must admit, I'm sorry about that, and we were feeling a bit relaxed, and we started to talk, talking about this character, a very old, amazing man named Tommy Houston, who came out of Liverpool. He was back before the big pop evolution and the Beatles and all those groups. He was well before that. That "Strawberry Jam" was just talking about his experience in life and how he started it all. One of the bits was back to Hamburg. 

Q: A lot of people did think that was about the Beatles.

 Mike:  Sure. But what I could do in that context with a few drinks down me... I know all of that backwards, you see, because I had a brother that went there. So I could say all these things, and they could all be based on facts. That's why it was a bit more interesting. 

Q: Okay, I want to talk about your album too. Could you tell us a little bit about what we should expect?

 Mike:  Well, what to expect is insanity-complete insanity for a start. It's sort of straight pop, and my first sort of straight pop album. There's one track on it called "Norton", which I've allowed my heritage to creep through. It's sort of a comedy one. It's got a little sketch in the middle. That's the only one on it, though. The rest is straight pop. (Corrects himself.) Sorry. In that very statement, it's wrong because straight pop would have one song done in different ways. That's all groups do. It's the same feeling on every track. And I, because I like variety, this is exactly what life is about now. We'll go out of this posh hotel and we'll fall over a dustbin because that's down there too. That's what life's about. You can walk through a door and there can be somebody who hits you in the face. I like life to change, so my album has a lot of changes on it. Suddenly, you go from a very Andy Williams ballad, as it were, into a heavy Lou Reed rocker.

 Q: Did you have this idea in your head before you went into the studio to do it? I mean, you must have talked it over.

 Mike:  Yes, we did, but I mean, no, that evolved. We originally were going to do a lot of songs. The only one that's been captured of another person's is Bryan Ferry's one, "Sea Breezes", and that in concept is completely different from Bryan's version. His one was on a Roxy Music album. It was quite mad. 

Q:  He probably would enjoy that too, because he has a knack for taking other people's things and doing them in his own style.

 Mike:  Oh yes, well, when he heard mine, the first thing he said when I met him was, "Let us shake hands, and I love your version of my song." He's a friend now.

 Q. How did you and Paul work together? Was this the first time that you ever wrote songs together?

 Mike:  No, we wrote other things together before, but not seriously. We've always done things sort of lightheartedly with no structure, just like fooling around, mockin' around. So we haven't worked seriously together. 

Q: Were you happy with the finished product?

Mike:  Very. Amazingly, I haven't even heard it in a while, cause I've been talking too much about it on the radio and to people. I'm very proud of it. It goes on. That's my only criteria in life of a record, is if it goes on a turntable, then that'll do. There are only a few records that go on my turntable, and that, (McGear), thank God, is one of them. 

Q:  Do you have plans to come back and do some kind of tour, either with Scaffold or by yourself?

 Mike: Now I am. When I came to this country, I was just going to do a promo tour and go home, thank you. I've been listening and being drawn into America, and you sort of, (in an Irish brogue) get in me heart. You shock me. It's quite amazing. And so with that reaction, I can come back. Anybody who talks to me, I'll talk to them. Now, people have come in saying, "How do you do?" and talking instead of the things they were doing last time. They certainly weren't talking to me. They were talking at me.

 Q:  Is your children's book that you wrote and illustrated, Roger Bear available over here?

 Mike:  It's not been released over here. They were thinking of releasing it in my album, but they suddenly thought, "Oh God, it's going to confuse and take away from the album". It's going to be an awkward thing to relate to both of them at the same time, whereas the lovely thing about it is that I'm relating to both of them anyway. The only problem is the people can't get the product over here. (He pulls out a copy of Roger Bear to show us) Spike Milligan, John Lennon, and Bowie-three different people who have read that thing and got off on it. It takes a lot of time to color it in. Look at those colorings there.

 Q:  Did you do that?

 Mike: Yes, I did. 

Q: you stayed in the lines and everything. 

Mike:  Oh God. Well, you wait till you start doing it. It's very hard, but it's great fun. 

The single "Leave It, written by Paul, is one of the album's best too, was supposed to receive a lot of airplay, but I haven't heard it on the radio here, and it hasn't made any of the charts yet. But it deserves to be a big hit. Be sure to look for it or the album.

Horns by Tom Scott (1974)

 

Horns by Tom Scott

The Harrison Alliance

March 1975

Harrison or Beatles? 

     "The audiences have been mixed," Scott explained between sets in Montreal. "Radically different from city to city. If they keep an open mind, anybody will walk away knowing something's going on, even if they don't understand it all. Maybe sometime it will sink in. 

    "There isn't a lot of yelling out Beatles songs. They've been pretty tolerant. Bill Graham was concerned. To Bill, the main reason people came was because George was a quarter of the Beatles, and he thought George should play more Beatles tunes, but George would rather have less people come and have them be interested in what he wants to present to them. That's a dangerous or risky attitude. It's not the most commercial approach you can take, and that's why people say the tour was terrible, not because anything's wrong with the music. It's a dynamite band. We get on stage and we know it's good. People can say what they like. The material isn't important. It's what George wants to do, and I'm behind him."

     "Rehearsals for the tour took place at the A & M soundstage for three weeks," Tom Scott reminisced. "The plans were made last fall. It was a spontaneous thing. We knew of five or six songs we definitely wanted to do, so we started with those. "What is life?" "In My Life", the John Lennon song, which he always wanted to do. "Sue Me" and " While My Guitar Gently Weeps " were some of the things he knew people would want to hear. Yet he could still feature me on one song and Billy Preston on three songs. He wanted to give the impression of a band with him as host, soloist, singer, and guitarist."

     And off they went, plagued by untrue press reports, but pleased by the music being made by a troupe that included 16 Indian musicians playing along with Americans like Willie Weeks, Andy Newmark, Chuck Findley, Billy Preston, and Jim Keltner, creating a new unbounded music that defied labeling as easily as the men involved defied natural boundaries.

 Tied to Beatle images  "It's not true that the tour's been bad," Scott explained.  "I was very disappointed with Ben Fong-Torres, who wrote Rolling Stone's analysis of the Harrison Tour, for using comments many of us made, and making them sound negative. Naturally, there have been some things wrong with the tour. He took a large part of that article from only the Vancouver show, the very first show. Everyone's first show has problems with sound and programming. In fact, the music is sensational. The people who say it's terrible wanted to go and see a Beatles medley. Those are the people who will walk away unsatisfied, but they have to try and understand that George is an ex-Beatle. He has other interests, other musical interests, other musicians. He prefers that to the Beatles for musical reasons. I don't think there's anything wrong with that. If he wanted to, I think that would be great, but he does not. So let the guy do what the heck he wants. He's a tremendous talent. 

    "Right after the first show, there was a reorganization of the set, and that's what pisses me off about Ben. He traveled with us from Vancouver to L.A. long after we'd made all the changes. Ravi's section was moved, and at the end of the show, rather than doing material from the new album, which were the unfamiliar, we put Billy's hits just before "What Is Life" and "My Sweet Lord." The changes were so minor that I can't believe anyone made a big deal about it. The only places we had trouble were in the very beginning of the tour. There was confusion revolving around the advertising. People in line in Vancouver were saying, "Is he going to sing?" I've seen very conceivable opinions written about Joni, myself, and George, and it's all part of the game. You hope that most people get the message. 

    "Another problem has been George's voice because he hasn't gone out on tour in so long. He strained himself, so his voice has occasionally been very hoarse. Lately, it's been superb."

     Secular album  Perhaps more than anything else, the biggest surprise on Dark Horse is the lack of songs dealing directly with religion. "Maya Love", a soft, funky rocker spiced by superb Billy Preston piano riffs, follows "Bye Bye Love" almost as an answer to the prior song's chanted desperation.  Then on side two, "Ding Dong Ding Dong," and the title track, and a song George originally wrote and played on for Ron Wood's solo album Far East Man are all simply good songs. 

    Dark Horse brings back memories of the White Album, as Chuck Findlay, Jim Horn, and Scott dart through the intricate melody on flutes. Scott again excels on "Far East Man", with a horn solo that would vindicate any context in which it was put. Only the final track, "It Is He Jai Sri Krishna", deals directly with Harrison's religious beliefs. "He who is complete free worlds at his feet", Harrison sings, and the song, as the capper to the album, gives the impression that Harrison belongs among the free.

     "He loves to discuss religion," Scott said. "I spent many early mornings talking with him about what religion means to us and how it relates to trying to be a rock and roll musician.

     "There are no simple answers, but George, rather than in his previous albums where he tried to verbalize some of those questions and thoughts, was more concerned with writing good songs than having a good time. You don't start out with a preset tone for an album. You write what you feel at the moment. You get 10 to 12 tracks, and as George did, pick the eight or 10 best. Those tunes which he may like because of the melody, or a solo, or just as a tune, may not have anything to do with the philosophical meaning of the song."

     That, more than anything else, is the truth about George Harrison's latest excursion into the material world. As he explained in his Los Angeles press conference prior to beginning the long tour, he just wants to be a musician again, to bring his music to people without being chained and bound by expectations. Towards that goal, he's surrounded himself with musicians of the highest caliber. Men like Tom Scott and Billy Preston are the finest examples of pure creative musicianship. 

    George tends to throw a lot of inside jokes into his albums. In fact, the inside of the album is a picture of George in Friar Park with Peter Sellers, but their backs are to the camera. They're quite good friends. The line "Leo, what say we promenade around the park," comes from the Zero Mostel film The Producers, one of George's favorite pictures, which he carries around with him on a video cassette. He's seen it hundreds of times, constantly quoting from it, and Monty Python, his favorite comedy troupe.

     On the liner notes, it appears that Pattie Harrison and her old flame Eric Clapton are the only backing musicians, along with an enigmatic performer. performer named Rhythm Ace, but as Tom Scott explains, that's not the case. "Rhythm Ace is an electronic machine that plays any rhythm: a boogaloo, a cha-cha, or a rumba. I suppose a lot of people will think it's a person. George decided to do that song by himself late in October when no one else was around. We'd all gone home. Pattie and Eric are not actually on the track. George just scribbled out those liner notes almost as he was getting on the plane door, and he hadn't slept from mixing down Dark Horse. When you're that out of it, you scribble whatever comes into your head. Clapton isn't even on the record. Let alone Pattie!"

Rocky Horror Outtakes

 John and May (and Mal Evans) go to see Rocky Horror at the Roxy in Los Angeles in 1974. 

Sunset Blvd.

 

From Jim McCullaugh:  

Watching Colbert's farewell with Paul McCartney last night sent me down a long road of memory. This was taken at the Billboard Magazine offices on Sunset Blvd., Los Angeles. John Lennon was in town promoting his Walls and Bridges LP and stopped by, which wasn't something artists of that stature typically did with trade publications. I told him I'd been listening to him DJ on KHJ that very morning on my way in. He said if music hadn't worked out, radio was the plan. I've thought about that a lot over the years.

Headphones

 

Ringo meet Lovely Rita

 

Whatever Gets You Thru the Night

 

Intermission

Photo taken by Madeleine  Schatz 

 

John Lennon Self Interview (1974)

 

Interview/Interview With By/On John Lennon And/Or Dr. Winston O'Boogie

By John Lennon

Unknown

October 1974

Q: Well, er, John, it's been a long time no, speak.

A:  Has it been that long? 

Q:  Probably, anyway, what have you been doing since we last talked?

 A:  Oh, the usual

 Q: I see. Well, weren't you supposed to be making an oldies album with Phil (for it is he) Spector?

A:  Yes, it started in '73 but it never ended, even Alex beeinhisbonnet Bennett noticed that.

Q:  Then suddenly, as it were, you were working with that great radio star, Harry (Buckminster) Nilsson.

 A: quite right. I produced his album, Pussycats-- out now at a reasonable discount. Then went on to make my own reasonably wonderful album, Walls and Bridges -- out now, which includes the fast-rising single, "Whatever Gets You Thru the Night", featuring my close friend and fiancé, Elton John, on piano and vocal harmony.

 Q: Do you feel that your new album, Walls and Bridges, is a step forward in your never-ending search for artistic fulfillment, the struggle of the lonely...

A:   I went to a party in LA just to look at Liz Taylor. Was I thrilled to meet her -- And on top of everything, who but who do you think was all over her armpit? None other than the great, great show David the Bowie! Wow! Was I thrilled to see that they were both smaller than me!

 Q:  The track I like best was that miserable one about "Nobody loves you when you..."

 A:   And Brian Wilson was there too, and Ringo and Elton, and it was somebody's 21st...

 Q:  Do you mean smaller physically?

 A: I feel quite happy about the album, Walls and Bridges --out now. The title of which was sent from above in the guise of a public service announcement. 

Q:  How wow!  I was meaning to ask you, John, what you thought of the Beatlefest and why you didn't go and are you getting back together again? How's your immigration and is it true about you and....

A: Great.  Nervous. You never know. Very appealing. If you want to help, write your congress person or some such similar...

 Q: About those dreadful stories that came out of LA with you and Harry, etc...

A: Mostly fiction with a grain of alcohol.

 Q:  I mean, you don't have to answer, but did you rape a waitress in the Rainbow?

 A:  I never actually laid a hand on anyone. In fact, it was impossible. I was carried out.

 Q:  But... but... Todd Rudgren said that you....

A:  That's what you get reading fanzines.

 Q:  Do you like glitter? 

A:  Yes.

 Q:  Talking of the Beatlefest. Didn't you find it strange that David Peel and Alex Beeinhisbennett were both there playing fifth Beatle? 

A: Yes, considering that the day before, I'd seen Peel on cable TV screaming about the Beatles ripping people off, etc, etc.  Alex, well, he's so controversial. He's just getting into Andy Warhol, you know, he's very deep. 

Q:  Didn't you produce an album of Peel's for Apple?

 A:  Yes, one of the highlights of my career.

 Q: Who else have you produced records for in your astonishing but sometimes perfectly ordinary life?

A: Elephant's Memory, Yoko, Harry, myself.

 Q:  Now that you've been living in NY three years, do you still...

A:  If you look closely at the wonderful Walls and Bridges --out now --album package, you'll notice a little noticing "I saw a UFO." Why don't you ask me about that?

 Q: Oh, I hadn't noticed. Did you really? Were you drunk? High? Having a primal?

 A: No, actually, I was very straight. I was laying naked to my bed when I had this urge. 

Q: Don't we all?

A:  So I went to the window-- just dreaming around in my usual poetic frame of mind to cut a long, short story, there, as I turned my head, hovering over the next building, no more than 100 feet away, was this thing with ordinary electric light bulbs flashing on and off round the bottom, one, non blinking red light on top. 'What the Nixon is that!' I says to myself, (for no one else was there). Is it a helicopter? No, it makes no noise. Ah, then it must be a balloon, (practically trying to rationalize it in all my too human ways.) But no balloon. Balloons don't look like that, nor do they fly so low. (Yes, folks, it was flying very slow, about 30 mph) Below, I repeat, below most rooftops. (I.e., higher than the old building, lower than the new) All the time, it was there. I never took my eyes off it, but I did scream to a friend in the other room, "Come and look at this, etc., etc." My friend came running and bore witness with me. Nobody else was around. We tried to take pictures. (Shit on my Polaroid. It was bust.) With a straight camera. We gave the film to Bob Gruen to develop. He brought back a blank film said it looked like it had been through the radar at customs. Well, it stayed round for a bit, then sailed off.

 Q: Did you check to see...

 A: Yeah, yeah. The next day, Bob (is it in focus) Gruen rang the Daily News Times plae to see if anyone else reported anything.  Two other people and or groups said they too saw something, anyway. I know what I saw.

 Q: Aren't you afraid people won't believe you? Crazy Lennon---- Maharishi, etc,

A: That's just one of the many burdens I will have to bear in this day of of waterbabies, inflation, generation crap, highly influential, but not untidy...

 Q: . That's very brave of you. John, talking of Maharishi, what is the concept behind your new album? Walls and Bridges ---out now. 

A: It's an unconcept album.

 Q But it has to have one.

 A  No, it doesn't.

 Q: Yes, it does. Take the first track, for instance, "Going Down on Love" that seems to be saying something...

 A: Next you'll be asking me, who's "Steal and Glass" is about (third track, side two).  I can tell you who it isn't about. For instance, it's not about Jackie Kennedy, Mort Sahl, Sammy Davis, Bette Midler, Eartha Kitt, it's not about her either.

 Q: It's not about Paul again, is it? I mean, you two are like-- I mean, grow up.

 A: Wrong again.

 Q: Everyone's saying this is your best album since Imagine, how do you feel? 

A:  I prefer the "Mother/ Working Class Hero" than "Imagine" album myself. However, I suppose anything you do is either better or worse than something or other. I mean, that's how we seem to categorize things. It's probably the way we remember. It helps us remember 'this fish tastes as good as the fish we had in St Tropez, but not as nice as the one Arthur caught off Long Island. On the other hand, do you remember that fish and chip shop in Blackpool?'

 Q, I'm supposed to keep this up for a few more pages when actually I'd finish the whole thing on 'do you like glitter?' 

A:  Yes.

 Q:  It's so hard to think of questions to ask you. I mean, you must have been asked nearly everything over the last few years. Is there anything you'd like to say? You know, instead of just answering these dumb--- I mean, you can say anything you want. I'm sure you must have something to say that you haven't said already

 A: Not really.

 Q: Oh.

 A: I'll ask you one -- why does Rowan Polanski always wear the same suit? 

Q:  I'm stumped.

 A: To get to the other side, silly!

 Q:  My turn. What happened between you and Klein?

 A:  He was unfaithful.

 Q:  I mean-- you always seem to get in so deep with things, then the next minute...

 A:  To get to the other side, silly!

 Q:  That's deep. Do you see much of the other ex-Beatles? Or is it a sore point?

 A:  I love my little Beatles. I've seen a lot of Ringo because he comes to America a lot. As you know, I can't leave here, or they'll do a Charlie Chaplin on me, and I don't want an award at 60 telling me how wonderful I used to be, but not quite wonderful enough to be allowed to live here now. Paul, Ringo and I spent some nice afternoons at LA.  Paul and Linda also came to visit in New York recently, and we had a great evening reminiscing. In fact, it was two great evenings, which reminds me only yesterday to coin a phrase, he and lovely Linda sent me a heartwarming telegram about my new album, Walls and Bridges-- out now.

 Q:  Don't you ever stop name dropping and plugging your album Walls and Bridges --out now.?

A: Not, if I can help it.

Q: It's rather gross, John.

 A: 20% in fact.

 Q: How cute!  I see you never mentioned. George, is there something.....

A: No, it's just he hasn't been here in such a long time. 

Q: Is it true you and Ringo are going to appear with him on his upcoming tour?

A: Not on your nelly, just another rumor, Dr. 

Q:  Why not? It sounds like fun.

 A:  No one ever asked, and he probably wants all the loot for himself.

 Q:  That's a bit bitter sounding, John. People might get the wrong idea.

 A:  No, it's just a pleasant reality, my dear. Nothing more, nothing less.

 A:  Todd Rudgran said you were a 'fucking idiot' in an English rock paper. What do you have to say to that?

 A:  I appreciate his concern. 

Q: Is that all you're going to say? I mean, aren't you going to be bitingly witty or something?

 A: Well, I did write a little something. I sent it to the Melody Maker. The trouble is, I like the little rabbit.

 Q:  Have you any plans to go tour? Like it's a long time since? What was it? Geraldo?

 A:  I haven't got a band. It's not that easy without a band. I mean, you've got to start from scratch. I get a lot of offers to do benefits. It makes me guilty to refuse. The trouble is-- the people that ask don't understand the business. 

Q:  That sounds like a cop out, John, if you don't mind me saying so.

A: Well, you're entitled to your opinion. I also get big money offers too, but that doesn't make the job easier, slightly more interesting. But ....

Q:  I hear you've been doing a lot of radio.

 A:  In connection with my new album, Walls and Bridges-- out now. 

Q:  How do you like being a DJ?

 A: Actually, I really enjoy it. I was brought up on it ---radio. I mean, I've been thinking of doing something regular for a few years now. I don't mean just playing records, but like making tapes, and I wouldn't like to get stuck in there, you know, with formats and such. I thought the best thing to do would be to, you know, just make tapes and put them on at WBAI, Pacifica or whatever. They could have any money, etc, and I'd have fun. Maybe I will. I just never seem to get to it. Though, I was talking to an old ex radio friend Elliot (after dinner) Mintz, on the west coast, he said, he said he'd love to help. You know, well, who knows?

 Q: I'm sure a lot of people would love to.

 A: Yes. Yes. Quite 

Q:  Talking of radio, I heard that you and, of all people, Howard Cosell, are going to do something together.

 A On radi -- Yes, I only heard about it today myself. Hmm, interesting.

 Q:  It's your birthday soon, and you'll be 34. Doesn't that worry you? You know, aging pacifist rock star crinkles before our eyes, that kind of thing. 

A: Ninth of October, send presents to Lennon Music, 1370 Avenue of the Americas, sixth floor. I caught like feeling the way I do since 30 etc. --Is, in fact, it feels better than saying 24. It's the sound of it. It sounds sort of scary. You know --life simply flashes by, and me still trying to get in the top 10 and all, but it feels okay.

 Q: Do you think you'll make any more movies? I mean, appear in them, like that Dick Lester thing, How I Won the War? 

A:  The main thing that I learned from that when-- when was it? 66/67? Was that it was boring-- sitting around waiting for the director. He has all the fun -- not that I'm actually inundated with... but the things that do come my way are sort of--- I think 'shit' is the word I'm looking for. 

Q:  How about writing music for movies? 

A: Well, obviously, I get offered more of that kind of thing, but it would have to really interest me.

 Q:   Why are you typing this as if someone was here with you, asking you these things? 

Q: It makes a change...anyway, I enjoy typing.  I only learned it last year, but my neck is beginning to hurt, and it's getting a bit boring. 

Q:  I'm sorry, just a few more questions, Mr. Lennon. I'm sure you understand, I have a deadline-- my editor, etc.

 A:  All right, then --GET ON WITH IT

Q:  Have you ever fucked a guy?

 A:  Not yet. I thought I'd save it till I was 40. Life begins at 40, you know, though I never noticed it.

 Q:  It is treny to be bisexual, and you're usually "keeping up with the Joneses"  haven't you ever?  There was talk about you and PAUL.

 A:  Oh, I thought it was about me and Brian. Epstein, anyway, I'm saving all the juice from my own version of THE REAL FAB FOUR STORY etc, etc. 

Q:  It seems like you're saving quite a lot for when you're 40. 

A:  Yes, there might be nothing better to do, though I don't believe it.

 Q: Your life must be so glamorous being a superstar and meeting people like Howard Cosell and Mayor Beame.

 A:  I haven't met either of them. 

Q:  Well, you know what I mean, because of my association with you, people are always asking me, 'What's he really like?'  How can I tell them you're just a beautiful, shy, modest, amazingly creative, paranoid pop star.

 A:  Shucks, you don't have to do that. Just listen to my new album, Walls and Bridges-- out now. 

Q: Of course, on the other hand, you're a fucking ego maniac.

 A:  Of course, but who is it?

 Q:  Offhand, I can't name one. 

A:  Well, if you find one, let's go and interview him/her/it.

 Q: What a jolly idea. Perhaps we could get a commission, you know, a sort of wandering Jill Johnston.

 A: I bought her a pair of shoes once-- she's never forgiven me. Didn't somebody buy the Village Voice?  It seems to have changed a little, mainly in the way they squash the front page up. Does Jann Wenner own it or what? 

Q:  No, it's just keeping up...

 A:  With the times-- we all know that one. I don't care what Lori Sebastian says. I had enough of this anyway. It's not as if I'm on the cover or anything. I mean, geez, I love Andy and everything. But this is it.

 With that, Mr. Lennon showed me the door, which was white. He was wearing jeans and a Mick Jagger t-shirt. I wore a certain look.

The Lost Weekend Lost Photo

 

I wrote about this photo in 2018 when I reviewed the book about Jann Wenner called Sticky Fingers. There was a story in that book about how Jann was sent a Polaroid photo of John, Paul, Keith Moon, and Linda anonymously, with "How Do YOU Sleep???!!!" written at the bottom.  Jann never knew who sent it, but assumed it was either Paul and Linda or John. 

Paul was shown the photo in recent times (I think 2015) and confirmed that the handwriting was not his nor Linda's, and that neither of them would write "Palm Sunday 1974" on a photograph because they don't know when Palm Sunday is.  He said he would think John or May sent it.  

I don't care much about who sent the photo to Jann Wenner.  What I care about is that this photo, which I only read about, is now out there for all of us to enjoy!  Another photo from April 1974 -- thank you!  

Multi-Media McGear (1974)

 Multi-Media McGear (O.K. Mike?)

No writer listed

Ray Hammond (editor)

Beat Instrumental

October 1974

    The first time I saw Mike McGear was around 1963 in the basement of a Liverpool furniture store that had permitted a number of Liverpool poets and musicians to take it over for poetry and jazz night. There just on the crest of fame were Adrian Henri, Roger McGough, John Gorman, Brian Patton, and a tall blonde lad. "That's Paul McCartney's brother," said someone, pointing.

    "Did you see me getting up on stage?"  asked Mike, looking back over an 11-year-old gulf. "That was my very first time on stage. Did you laugh? There I was, standing with my piece of paper in my hand, shaking, but I found that the people liked the comedy thing I was doing. It was then I realized, 'oh, so they're just people, there's nothing to be frightened of."

     That was the beginning of Mike's collaboration with Gorman and Co. in the music/poetry/comedy band Scaffold, which, riding on the crest of the Beatles' fame, brought Liverpool humor to every corner of Britain and to some unsuspecting audiences abroad. It's difficult to think what an American audience could possibly have made of their first enormous hit, penned by Mike,  "Thank U Very Much". It even baffled a lot of Britons, including our kid, brother Paul, who didn't believe it set a chance on the charts.

     "Paul and I have always been brutally honest with each other. He said, 'Don't put that out as a single, the public won't get it. They won't understand.' And I said, 'Well, you've got your opinion, and I've got mine. It's going ahead.' He replied, 'Well, I think you're stupid. It's going to be to your detriment', as I was determined to carry on with it. 

    "He helped in the production, which is why that record got a bit more in the production than there is normally on our records. He's got a very good head for music. When the record was a hit, all he said was, 'All right, mate, I was wrong.'"

     Of course, there was always a bit of friendly rivalry between brothers, but it must have been terrible having one as famous as Paul. After the initial glow of basking in the shadow of McCartney's fame had died down, it must have been very difficult for McGear to shake off all the tags and be accepted on his own merit, instead of being accused of letting Paul help him along. "I suppose in the first days of Paul's success, I did feel a bit under his shadow," Mike confessed. "It's quite a cross to bear having a famous brother. You get a bit bored with the tags, but then the same sort of thing often happens in families. Lots of people feel under the shadow of an older brother or sister.

     "You have to say, 'I'm not just Paul's brother, I'm me.'" Was it Paul who inspired Mike to write in the early days? "No, I never wrote at all when I was a kid; our kid had all that wrapped up, going round everywhere with his guitar and things."

      Was Mike ever actually jealous of his brother? "No, why should I have been? When the Beatles started getting really successful, Brian Epstein said to me, 'Do you want to be a pop star?' And I said, 'Brian, my dear, you must be joking.'"

     When you talk to Mike, it's as if you're on stage with him and he's including you in his comedy act. He talks, not so much in a string of words, but in a series of scenes. In fact, it's very hard to put down on paper exactly what the man says, just because he is so expressive. Everything is accompanied by gestures, movements, changes of accent, and intonation. 

    Yet initially, the words"show business" were anathema to him. Instead, he wanted to go to art college, and ended up at the point where he joined Scaffold --as an apprentice hairdresser! "I certainly didn't intend to be a pop singer, in a way, but I got interested in the theater side of it, sketches and things, and it was very satisfying. And I went off on that tangent while Paul did his music."

     The two brothers seem extremely different in personality. Perhaps that's why McGear's determination to follow his own ideas, and not join with Paul or follow in his footsteps, has brought him to the point where he is completely accepted in his own right. Changing his name from the family one to McGear was a first step in this direction. 

    Yet he and Paul are still very close with the friendly rivalry and intuitive sensitivity about each other that is only found within families. He has worked closely with Paul on his new solo album (the title hasn't been decided upon at the time of our interview), and he found that working together was entirely easygoing. "I think it was because we are brothers, and being brothers, we are a darn sight more honest with each other than people are in normal working relationships, but it was very rewarding as well."

    As well as Mike asking Paul's opinion on his music, it turns out that the rules are frequently reversed, with Paul asking Mike's opinion, which, as they are so honest with each other, sometimes leads to awkward situations.

    "When I know my opinion is not going to be a good one, I just keep quiet, and he knows, I mean, it can hit a bit hard when someone's putting their whole thing into something and really believes in it, and the other person doesn't like it. 

    "Like that 'Helen Wheels' single, I went down to the studio, and there they were, Paul and Wings all dancing around. Paul was saying, 'Isn't it great?' And bopping up and down. And I just had to sit down and say nothing, because it did absolutely nothing to me. It was a nice little pop tune, but not where the man's head is at all. He's a very clever boy, so to waste it on that seemed a shame."

     Has Paul been a lot of help to Mike as far as writing and constructing songs is concerned? "No," replied McGear. "He's always done his songwriting and left me to mine. You know it's often quite tough."  For instance, on that Antitree iron business I told you about, one thing I wanted to know for years was to what this expression actually referred. But Mike was giving no secrets away. "If I was to tell you, I'd have to tell Harold Wilson. I learned from a very authentic source that he was literally ringing round everyone saying, (he adopts a flat Wilson accent) 'for God's sakes, what's the Antitree iron?'"

     Although Mike has become well known as a humorist, his new album shows very little of the comic side of his nature. "That's where Paul and I are different. He's always done his thing, and I've always been basically comedy. But this record is basically serious, serious pop, if pop could be serious."

     He has also been working on the new Scaffold album, which will probably be released later this month or early next. So he certainly hasn't stopped writing humorous material. He is very optimistic about its success. "We've been working on it in AIR London, producing it with a friend of mine, John Meganson. It's the best album Scaffold have ever done. Already, the B side of the new single, which will be out a few weeks before the album, is so good that it should be an A side. It's called 'Pack of Cards', based on that old song, 'Deck of Cards' that Wink Martindale one, and it has Zoot Money doing impressions of WC Fields!"

     In spite of his current enthusiasm over Scaffold, it was only their sudden hit with "Liverpool Lou" that brought him back to work with them again after a rest period, and filled him with the determination to see them doing the kind of things he thinks they ought to do, such As a  Monty, Python, type of TV show.

     Although he may be about to embark on a dazzling solo career, he wants to combine this with Scaffold. "Although doing it will require careful planning. I believe in Scaffold. I always have, and hopefully I always will. They are a unique thing, a unique thing, but the only way I'm going out on the road is when they're solid, secure, and things are definite. There's an agent coming to see me tonight about dates and things.

    "Scaffold have been through some bad times, and that's why things in the future have got to be a progression, because before we were regressing and playing to smaller and smaller places. That is what led to the situation that night in Manchester last year, where I jacked it all in. I said to myself, 'Forget it. I've had 10 years of all this', and I gave it up for eight months."

     So what brought him back after this momentous decision, doing the album with our kid ?  "The Scaffold single 'Liverpool Lou'. I became involved in all this madness again, but it's easier this time. I can see it for its madness and be more objective."

     McGear has also written a book for children about yet another bear to share the nursery bookshelf with Paddington, Rupert, and Winnie the Pooh. "It's sad, really. When the book first came out, it was during all that business over Oz and Rupert, so my poor little Roger Bear got lost in all the troubles. All together now... 'ahhhhhh!'

     The book is now being reissued to coincide with the release of the album. Mike also did the illustrations. "Oh, there's no end to this man's talent!,"He joked.  "Multimedia Mcgear, there's your title!"

     If the album takes off as well as it might, with the heart, with the hand of McCartney resting heavy upon it, in the form of co-written songs, arrangements, vocals, and instrumental backings by Wings, plus session people like drummer Gerry Conway, it will still be quite a time before we see the solo McGear take to the road. 

    "The only time I'll perform in this country, apart from with Scaffold, that is, is when I've got the people I want with me. Gerry Conway, who's just got back from a worldwide tour with Cat Stevens, has already phoned me to ask me what I'm doing.

     "You see, there's certain killer people, amazing musicians, who are friends as well, and when I've got them, I'll go on the road. I can't tell you their names at the moment, but only when they are available, only when I can play them the full screw on top artist can pay to his so-called backing group. Will I go on the road. But they won't be a backing group -- they'll be like traveling with my friends.

In their Mullet era

 

Motley Crew

 

With Visions of Lennon Dancing in my Head (1995/1974)

 

With Visions of Lennon Dancing Through My Head

By Ted Newman Elmo Jones III (owner of Newman Custom Guitars)

Austin-Amerian Statesman

November 30, 1995

    During the first part of the 70s, as a guitar technician and then as a luthier with the Rolling Stones, I ended up meeting a lot of other famous musicians, one being John Lennon, in Hollywood at a party during the time he was split up from Yoko Ono.

     Bill Wyman and I rode up to Beverly Hills,after a full day of rehearsals, to this guy's house, who had produced Hair. Everybody showed up, I suppose because the Stones had been rehearsing at one of Warner Bros. sound stages for the upcoming tour. 

    Bill and I entered the kitchen, saying hello, and myself being introduced to people I'd only read about and seen on TV or in concert. One being John Lennon. He barked, "Well, hello, Ted Newman, why don't you make me a guitar? You're always making them for Keith."

     I said we should talk. Then he dragged me down the hall into an empty room with no furniture, white walls, and an oak floor. We sat down with our backs propped up against the wall. He had a jug of vodka in his right hand and a tambourine on his left. He would start talking about Yoko and then strike his tambourine on the floor. 

    Finally, John went to sleep, and I followed suit, just napping against the wall. When I awakened, I saw he was still sleeping, so I said good night to the sleeper, and I went back to the noise in the kitchen.

     Wyman sent for me and said we had a car waiting to take us to the studio to do overdubs and mixdowns. Mick and Keith were already there. I tried to listen, but my thoughts of Lennon kept drifting through my mind. It made it hard for me to concentrate on my work. Nevertheless, the evening was only beginning.

Let's Love witih Paul

 

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