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

 

Colorful shirt

 

Halloween Treat (1974)

 

Halloween Treat

By Linda Aiello

With a Little Help From My Friends

January 1981

    It was October 31, 1974 —Halloween night —and I was at work. I had heard that John had recorded Walls and Bridges at the Record Plant recording studio, so I figured he was probably also working on the Rock and Roll album there. 

    I got off work at 4:30pm, and it was a last-minute thing. I asked a girl in my office to come with me, since I was afraid to go alone. She wasn't even a Beatles fan, but she did me the favor and came with me. 

    It must have been close to 5 p.m. when we got there. When we got out of the elevator, I went into the reception area, and the girl at the desk told me John was in. There was a Chinese girl on the phone at that time, May Pang. This was at the time when John and Yoko were separated. I could not believe how easy it was to get up there. Nobody stopped us.

     When May got off the phone, she asked what I wanted. I asked her if she was May Pang, and she said, "Yes. How do you know me?"  I told her I heard about her. Again she asked me what I wanted. I told her, "I just wanted to meet John."  She told me he did not wish to be disturbed and that I should leave. 

    The door to the recording studio was open, and I didn't hear anything. I could not imagine what John was doing. She told me he had been mixing the Rock and Roll album. I told her I was not going to leave, (but I said this in a nice way.)  She said that I was going to have to. I told her I would be quiet and that I would wait at the elevator if I had to, but I was not going to leave.

        I asked her if she would do me a favor and get his autograph for me, and just have John wave to me. She said, "No." Doesn't she sound sweet? 

    Just as I was telling her that I would not leave again, John came out. I bet he was hiding behind the door, just waiting to make his entrance. He saw how excited I got when I saw him. I took both of his hands and said, "John, I can't believe it, after all these years!"  And he replied, "Indeed, it's a great pleasure," in a funny-sounding voice. He looked great, even though he was supposed to be upset about not being with Yoko. He looked fine to me. He looked as if he had just shaved, and he was dressed nicely as well. He really looked beautiful.

     I didn't know what to say next, since I was the only fan there. Of course, I had to say something dumb, like, "I have all your Beatles albums", to which he said, "I've got them all too". And he laughed.

     And then he said, "Excuse me."  And went over to the sofa in the reception area. On it was the Walls and Bridges album. May Pang went over to him, and she had her arm all over his back. He wasn't really bothering with her. While he was on the sofa, I asked the receptionist for a hardcover book I could borrow so John could use it to lean on when he gave me his autograph. She gave me her ledger book.

     By the way, my friend from work just stood at the reception desk and didn't say a word.

     When John returned from the sofa, he said, "Good night" to me. And I said, "John, wait, can I please have your autograph? " And he said, "Sure." So he started to sign, but my pen would not write, and he said, "At least you could have given me a pen that writes." And laughed. I told him to scribble with it, and it would write. That is just what he did. And then the pen worked. Every time I look at his autograph now, I think of the story behind it. 

    He was really warm and friendly as he was signing, he noticed my name on the pen. At my office, everyone was losing their pens, so I  put my name on mine. When he saw the name, he said, "That's clever." I never did get to tell him why my name was on it. Then he said, "Good night" again. And he started going back into the studio.

     I decided I wanted to kiss him. From the corner of his eye, he saw me starting to approach him, all determined, and he turned back to me and gave me his cheek. I kissed him and said, "Thank you." He walked back into the studio and waved to me. 

    At this point, I was so excited that I was leaving with the ledger book. The receptionist started yelling at me when I was in the elevator. I was sorry for not giving her back the book, but she understood. I would have been glad to bring it back to her at a later date. 

    This is where the story ends. It was the greatest Halloween of my life. One regret is that, since it was a last-minute thing, I did not have a camera. I know John would have posed for a picture.

     As I'm writing the story, I'm crying, and I don't have to explain why. I am so thankful that my one-to-one experience with John was a beautiful one. I'm also happy to share it with all of you. For those of you who never met John, he was truly a wonderful man. For those of you who did meet him, you know what I'm talking about. Peace is all that he wanted. So let's keep it!

Smile Away

Photo taken by Mar Young 

 

Hanging out with Harry

 Photos taken by Cindy Rebello

 

During the time of the March of Dimes Marathon in 1974, John and Harry were staying at the Plaza Hotel (as known due to the "Beatlefest" back story).  I wonder if these photos were taken there. 

Dueling Guitars