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Home , Abbey Road Studios, Allen Klein, All Things Must Pass, AM (musician), Andy Newmark, Apple Corps

THE YEARS 1970 -19 8 0

John From ‘Imagine’ to martyrdom Paul McCartney Wings – The boogaloo Beatle

The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by

t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the Beatles in in 1962. I ended up recording in the studio with came out my name was there on the . Plenty I arrived to do a two-week them. The press called me the of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like , but they chose to give me . He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to and making were impressed with me too because and money hassles with Apple, but we a couple of with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. In in his band. We weren’t so far apart in trust me – I was a kind of sounding board the years after the split it wasn’t easy for them to age, particularly George, so we hit it off become anything other than , from the start. but they were always very creative. People What was instantly obvious to me was The press called me the are forever asking me why they remain that they weren’t like the other bands so revered after all this time and it’s the around then. Their harmonies, the way Fifth Beatle, but I was just big question. I guess they just wrote from they dressed and their personalities set the heart, they experienced a lot of things them apart from the others. They were really happy to be there and wrote about them in a way everybody also unique at the time in the way a could relate to. bunch of white guys handled black music and were and another set of ears. As far as I was concerned able to add to it. they treated me like a member of . I’d stay We went our separate ways for a few of years, then with George at Henley, we’d eat lunch in the offi ce, I came to with and George jam and record. It was a fun time for me. To get a came to see the gig and spotted me in the band. They credit on ‘’ was an honour and a privilege

Let it BP: the Fifth Beatle in 1972 GETTY IMAGES/REX FEATURES GETTY IMAGES/REX

NME ORIGINALS 3 INTRODUCTION THE THE BEATLES The Beatles’ split was a long and drawn out divorce, but the aftermath proved just as messy. Chris Ingham explains how The Beatles survived the ’70s 18 by David Stubbs 22 George by Adrian Thrills 20 Paul by Paolo Hewitt 24 Ringo by Paul Moody

McCartney announces Beatles split ‘McCartney’ ‘Sentimental Journey’ ‘All Things Must Pass’ ‘’ ‘’ ‘Another Day’ ‘Power To The People’ ‘It Don’t Come Easy’ ‘Ram’ ‘Beaucoups Of ’ For Bangla Desh ‘Imagine’ ‘ (War Is Over)’ Forming Wings ‘Wild ’

28 40 36 33

Wings live debut ‘Mary Had A Little Lamb’ Save Our Lennons campaign Lennon at ‘Some Time In City’ ‘Hi Hi Hi’ Ringo and ‘’ ‘My ’ ‘Live And Let Die’ ‘’ ‘Living In The Material World’ ‘Mind Games’ ‘Ringo’

61 58 68

4 NME ORIGINALS

‘Band On The Run’ ‘You’re Sixteen’ ‘Jet’ Lennon Vs John’s “lost weekend” ‘’ Lennon and live ‘’ ‘Junior’s Farm’ George’s US tour ‘Dark Horse’ Lennon Vs the US ‘Rock’N’Roll’ ‘Extra Texture’ Wings’ UK tour ‘Listen To What The Man Said’

90 88 95 104

Lennon gets his “green card” ‘Wings At The Speed Of Sound’ 1 ‘Thirty Three & /3’ ‘Ringo’s Rotogravure’ ‘Mull Of Kintyre’ ‘London Town’ Rockestra ‘’ ‘’ ‘George Harrison’ ‘’ Concert For Kampuchea Paul’s Japanese drugs bust ‘Waterfalls’ ‘McCartney II’ ‘(Just Like) Starting Over’ ‘’ The death of 116

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THE BEATLES COMPLETED 1981-2005 Mike Pattenden assesses how The Beatles confronted the last 25 years WELCOME TO NME ORIGINALS So much was written about John, Paul, By re-publishing many interviews To all of this we’ve added a selection George and Ringo in the decade after and reviews for the fi rst time since of newly commissioned writings to The Beatles split up, but the glories of their initial publication in the pages place the archive material into context, the ’60s have perpetually overshadowed of the leading British weekly rock and not forgetting some truly fantastic the best of their ’70s solo work. Against magazine NME and its now defunct photographic images. a backdrop of reunion rumours, sister publication Melody Maker, this individual Beatles each attempted to magazine provides a fascinating insight craft a body of solo work that could rival into a decade where all four tried so hard their collective output. Although with to shake off the mantle of “ex-Beatle”. fl ashes of brilliance they occasionally In doing so, we have been able to once succeeded, they would be forever judged again bring you some of the best British Chris Hunt by the standards of The Beatles. of the period. Editor

NME ORIGINALS 5

INTRODUCTION

When John Lennon announced he wanted a “divorce” from The Beatles it was obvious that the split would be a messy affair. But for John, Paul, George and Ringo, the shockwaves were to last a decade. By Chris Ingham LANDMARK MEDIA LANDMARK Ten Years After

or many for whom Beatle music had formed the As John Lennon saw it, he had formed the band and of their lives, witnessing the break-up he wanted to be seen to end it. And the truth was of the group was traumatic. To watch the beloved McCartney was actually the last Beatle to get around band that had represented such artistic, social to leaving the band. F and spiritual possibilities in the enter end had been some time coming; the rot at as bitter, feuding businessmen seemed to suggest that the core of The Beatles had started nearly two years all the good feeling and optimism of the previous decade was previously. The band had a grinding time in the summer an illusion – like the rosy glow of childhood – to be somehow of ’68 trying to record what became the ‘White Album’. grown out of. The experience of seeing The Beatles dissolve Paul, George and Ringo were unnerved by the constant was akin to that of children who helplessly look on as their presence in the studio of John’s new love, avant-garde adored parents bicker, grow apart and separate. Deep down, artist , and Lennon’s preoccupation with we may know it’s nothing to do with us, yet somehow, it his new artistically and emotionally stimulated state affects us at a fundamental level; we are little less light, a little manifested itself in a truculent disregard for any music less hopeful. that wasn’t his own. The pervading positivism, joyful As the 1970s wore on, and the world went about its invention and creative rivalry of their earlier years was growing up, it kept an eye on the separate doings of John, being replaced by paranoia, apathy and an ill-spirited Paul, George and Ringo. Not just because they continued power struggle. Ringo left the group during those to be fascinating people who, sporadically, did interesting sessions, feeling “unloved”. He was wooed back to his work, but because, of course, they were still The Beatles. As their marvelously erudite and whimsical press offi cer once said of them, “It was the only dream I ever had that came true.” And The end had been some time in the 1970s, you never knew. The dream could come true again. For the watching world, the shocking news came out of the blue on coming; the rot at the core of The the morning of 10 April, 1970. The body of the ’s story largely quoted from Paul McCartney’s self-composed question-and- Beatles had started back in 1968 answer promotional interview accompanying advance copies of his solo debut album, ‘McCartney’, in which he referred to “business drum-stool after a few days, but the interminably grim sessions took and musical differences”, having a “better time with my family”, not their toll on the spirit of the band. knowing whether the “break will be temporary or permanent” and It was in January 1969, during the shooting for not being able to “foresee a time when the Lennon and McCartney documentary fi lm Get Back (which became ). A cold partnership will be active again”. The headline, however, made no Twickenham studios crawling with cameramen was the last place bones: “PAUL QUITS THE BEATLES”. John, George and Ringo wanted to be and they were simply not in John Lennon was furious. This announcement was master media the mood for McCartney’s bullish encouragement. Already feeling manipulator McCartney timing things perfectly to sell an album. downtrodden as a junior member of the group, undervalued

Yoko Ono offers words of wisdom to John during the fi lming of Let It Be, Twickenham Studios, 1969 RETNA-RICHARD KEITH WOLFF/MIRROR PIX WOLFF/MIRROR RETNA-RICHARD KEITH

8 NME ORIGINALS

Paul smiles through as he loses control of The Beatles, April 1969

and uncultivated beneath the shadow cast by Lennon and McCartney’s collective ego, George got especially rattled. It was just one humiliation too many to be told how to play his guitar in front of the cameras and he walked off the sessions. He returned when it was agreed to relocate to Apple and to stop fi lming rehearsals. Later that year Paul found himself further ostracised within the group as they grappled with how The Beatles’ fi nancial affairs should be pursued. The Beatles’ utopian business venture that was was melting down under the strain of unprofi table schemes and elephantine expense accounts and something had to be done. Paul wanted his father-in-law, showbusiness lawyer to do it, whereas John, George and Ringo wanted fast- talking, legendarily tough New York negotiator and missing royalty ‘discoverer’ . After a series of catastrophically ill-tempered meetings in which everyone lost their cool, Klein was appointed over Paul’s objections and took over Apple. Paul held out, refusing to John and Yoko rehearsing for acknowledge that Klein represented him in any way, a stance that did ‘Let It Be’, 1970 nothing for the strained atmosphere in the band. The group limped through the remarkably polished swansong In the following months, Lennon was the most visible of the ex- ‘’ in summer 1969, although elsewhere that year, Lennon Fabs, continuing his headline-grabbing activities with his single ‘Cold – in the company of Yoko – had become a media-savvy, performance Turkey’ (describing his withdrawal from ) and the return of his MBE to the Prime Minister in protest against Biafra, Vietnam and ‘’ “slipping down the charts”. Ringo, meanwhile, began The Utopian business venture recording an album of standards while George quietly joined Delaney & Bonnie on a European tour. Paul retreated with his new family to that was Apple Corps was melting his farm in Scotland to suffer what he would later describe as “almost a nervous breakdown”. down. Something had to be done McCartney suffered extreme anxiety symptoms as he agonised about his unemployed status and had nightmares about being trapped art peacenik, thrilled by the opportunities for fresh expression and in a business with Klein, a man who Paul was convinced simply bored by the idea of being a Beatle. After straining at the leash was a “baddie”, and with a group that didn’t exist anymore. With the for months, and immediately after appearing at the Toronto rock’n’roll help of wife Linda, he gradually restored himself and recorded the festival with the Plastic Ono Band (Eric Clapton, et album ‘McCartney’, playing all the instruments himself and agreed al), in Lennon called a meeting and told a devastated a release date with Apple, 17 April, 1970. McCartney that he was leaving. Klein was keen for the news to be kept Meanwhile, Klein and the remaining Beatles pursued the previously quiet for business reasons as he just renegotiated a massive increase in abandoned ‘Get Back’ project, hiring to polish the raw The Beatles’ EMI/Capitol royalties. In actuality, The Beatles were over recordings into a releasable state. Though McCartney had seen the in September 1969; it’s just that no-one was to know. sense in making the tapes into an album (he’d even participated in the

10 NME ORIGINALS Ten Years After

fi nal Beatles recording session with Ringo and George on Harrison’s ‘’ in January 1970), he was appalled not to have been asked McCartney was forced into about Spector’s lush treatment of his ‘Let It Be’ and ‘The Long And Winding Road’. He was further outraged when he was told, extreme measures. He sued his ex- via a hand-delivered letter by Ringo from the other Beatles, that his ‘McCartney’ release date had been put back to make way for the bandmates to dissolve The Beatles ‘Let It Be’ album. In a , he threw Ringo out of his house and demanded his original release a puzzled shrug as to why Paul would want The date be reinstated. George eventually OK’d it Beatles to end. When compared to the anti-Beatle and ‘McCartney’ was back on track. “We’re all vitriol of his interview conducted two talking about peace and love,” McCartney told months before (in which he eventually revealed the Evening Standard on 2 April, 1970, “but really, it was himself who had pushed for “divorce” in we’re not feeling peaceful at all.” the fi rst place), John’s statement was particularly His discontent rumbled on through 1970 as disingenuous: “If Paul is trying to break us up the royalties for the coolly received yet million- because of anything that happened before the selling ‘McCartney’ dropped into the Apple Klein/Eastman power struggle, his reasoning does pot to be shared by John, George and Ringo in not make sense to me.” a continuation of the all-for-one, one-for-all Paul succeeded in getting a receiver to handle business agreement they had set up in 1967. Apple in March 1971, after which the defeated McCartney, unsurprisingly, wanted out and asked three Beatles reputedly drove to Paul’s Cavendish Lennon, Starr and Harrison to release him from Avenue house and put a brick through his the partnership. Advised by the ever-watchful window. (Business-wise, The Beatles’ partnership Klein, who suggested it would be a tax nightmare, was eventually offi cially dissolved in April 1975 they demurred. Legal letters, personal letters and although ironically, by 1973, John, George and Y IMAGES Y phonecalls were all parried so McCartney was Ringo had fi red Allen Klein as their business forced into extreme measures; he sued his ex- manager. “Let’s say possibly Paul’s suspicions were bandmates to dissolve The Beatles in the High right,” said John at the time.) Court on 31 December, 1970. This bizarre, tense situation couldn’t help but Still mindful of the tax issues, John, George spill into the artistic output of the four. The cover and Ringo sent carefully worded affi davits to the of George’s 1970 album ‘All Things Must Pass’ February 1971 hearing which, while admitting Linda, Paul and Martha featured a magnifi cently bearded Harrison in

ALPHA-CHRISTIE /REX IMAGES GETT FEATURES/ personal and business tension, amounted to on the farm the day cosmic gardener garb, wise and imposing at after the High Court proceedings began NME ORIGINALS 11 Ten Years After

the centre of four symbolically insignifi cant garden gnomes. content, was no less scurrilous than ‘ You Sleep?’. Beatles fans On ‘God’ from Lennon’s 1970 ‘Plastic Ono Band’ album, he spat read and shook their heads in disbelief. that among the many things he didn’t believe in was “Beatles”. The All of this divisive exposure helped the public understand that The ever conciliatory Ringo underlined the human aspect of losing the Beatles no longer existed as a group but only as individual lives and old gang on ‘’, the B-side to his 1971 single ‘It Don’t Come careers. Unpredictably, of the four careers, it was the dark horse of Easy’, where he devoted a verse each to his old pals, declaring “when the band, George Harrison, who got off to a fl ier. His monumental I go to town I wanna see all three”. triple-album ‘All Things Must Pass’ (1970) was greeted as nothing Other references were a little more barbed. George tilted at Paul on less than an unblocked musical fountain, while the single ‘My Sweet ‘All Things Must Pass’ with the song ‘Wah-Wah’ (written immediately Lord’ hit Number One in both the UK and the US. His fund-raising after walking out of Get Back), Paul sniped at John on ‘Too Many work with the Concert For Bangla Desh in 1971, for which he cajoled People’, the opening track of his 1971 album, ‘Ram’, a record which the participation of (but not Lennon or McCartney) also featured a picture of a beetle ‘screwing’ another beetle. However, established him as the hippest ex-Beatle with the biggest heart. in a blazing culmination to this form of dialogue, John lacerated Paul on his 1971 album ‘Imagine’ with the infamous ‘How Do You Sleep?’, a witty, deeply ungenerous attack upon McCartney’s music, family John lacerated Paul on ‘How Do You and reputation. Variously justifi ed later by Lennon as being “like a joke”, “really attacking myself” and a response to jibes on ‘Ram’, most Sleep?’, an attack on McCartney’s listeners, not least McCartney himself, were shocked. There was also the sour discourse conducted through the pages of music, family and reputation the music press. The other Beatles’ responses, when asked about Paul’s solo work, ranged from the disappointed to the scathing, Lennon’s However, through the remainder of the decade, Harrison’s solo shockingly militant anti-Beatle interview to Rolling Stone in late 1970 work or reputation never again hit those heights. Subsequent albums was widely-quoted and both Lennon and McCartney took to venting – ‘Living In The Material World’ (1973), ‘Dark Horse’ (1974), ‘Extra their spleen in the letters page of Melody Maker. Lennon fi red off after Texture’ (1975), ‘Thirty Three & 1/3’ (1977) and ‘George Harrison’ an interview – picking at the details of (1979) – were listenable but revealed a waning inspiration, and by the Martin’s remembrances – and again after McCartney’s November end of the decade the triumph of ‘All Things Must Pass’ was starting 1971 interview when Paul expressed the wish that the group could to look like a one-off. His nadir was reached in 1976 as he was ordered just “sign a piece of paper saying it’s all over”. This prompted John to to pay nearly $600,000 to Bright Tunes and relinquish all royalties on

pen a vicious letter that, despite being edited for potentially libellous ‘My Sweet Lord’ when found guilty of “subconscious plagiarism” REDFERNS

The dark horse: George Harrison

12 NME ORIGINALS

‘Some Time In ’ (1972) was universally derided. (However, the US government thought it dangerous enough to warrant placing the by now New York-located Lennon under CIA surveillance.) ‘Mind Games’ (1973) came and went with barely a ripple, by which time John and Yoko – who had lived in each others’ pockets for fi ve years – took a break. Lennon embarked on a booze- fuelled 15 months in LA with some rocker chums and Yoko-endorsed girlfriend . He would refer to it later as his “lost weekend”, but it was a period that spawned ‘Walls And Bridges’ (1974), the US Number One single ‘Whatever Gets You Thru The Night’ and the covers album ‘Rock’N’Roll’ (1975). Mid 1975 saw him back with Yoko, who became pregnant, whereupon John disappeared They’re gonna put me from the scene into house husbandry for in the movies: Ringo fi ve years. (right) with in That’ll Be The Day After the split, it took Paul McCartney some while to win back the trust of the public and the critics. Believed at the time in relation to the similarity of the song to ’ 1963 hit to be the Beatle who spoiled the party, his reputation wasn’t helped ‘He’s So Fine’. by the Paul’n’Linda effort ‘Ram’ (1971) and the offerings by his new Ringo became an amiable global carouser and personality but also group Wings, ‘Wild Life’ (1971) and ‘Red Rose Speedway’ (1973), found a commercial niche in the early part of the decade. His initial records that were perceived to be an infuriating mix of the slapdash albums ‘Sentimental Journey’ (standards) and ‘’ and the glib. ‘Band On The Run’ (1973) changed all that, drawing (country) and fi lm roles (Blindman) were merely tolerated, but his hit much praise that amounted to a critical cheer of relief. Subsequent records – ‘Venus And Mars’ (1975), ‘Wings At The Speed Of Sound’ (1976), ‘London Town’ (1978) and ‘Back To The Egg’ (1979) – were The world still loved The Beatles patchy but hit singles and sell-out stadium tours established Wings as one of the biggest groups of the decade. Various marijuana busts and, inevitably, the reunion through the decade, culminating in a scary few days in a Japanese jail in 1980, even lent McCartney a little pothead outlaw credibility. rumours fl ew in every interview But the 1970s solo activities of the ex-Beatles played out against a backdrop of continuing obsession with their old group. EMI singles (‘It Don’t Come Easy’, ‘Back Off Boogaloo’) were genuinely explored a range of repackaging schemes to exploit their Beatles popular. He hit a peak in 1973; he got glowing reviews co-starring with catalogue, including the collections ‘1962-1966’ (the David Essex in That’ll Be The Day as randy, corrupt Butlin’s teddy boy ‘Red’ album) and ‘1967-1970’ (the ‘Blue’ album) of 1973 that did Mike, his best fi lm appearance aside from A Hard Day’s Night. Also remarkable business. Encouraged by the albums’ success, in 1976 that year, he persuaded Lennon, Harrison and (on a separate song) EMI re-promoted all 22 Beatles singles in fetching green sleeves (they McCartney to contribute to the excellent Ringo album that produced didn’t need reissuing, they were constantly in the catalogue), plus a the US Number Ones ‘You’re Sixteen’ and ‘’. ‘new’ title for the UK, ‘Yesterday’, which peaked at Number Eight. However, with later recording sessions essentially an extension of The same year ‘Back In The USSR’ was released as a single (Number his celebrity party lifestyle and the music lacking a solid artistic core, 19), off the back of the double-album collection ‘Rock’N’Roll Music’. his remaining albums of the 1970s – ‘Goodnight Vienna’ (1974), Unreleased 1964/65 live shows were prepared by George Martin and ‘Ringo’s Rotogravure’ (1976), ‘Ringo The 4th’ as ‘The Beatles Live At The Hollywood (1977) and ‘Bad Boy’ (1978) – yielded sharply Bowl’ and released in 1977, closely followed by diminishing musical, critical and commercial another compilation, ‘Love Songs’. returns. Several of his business ventures (Ring Simply, the world still loved The Beatles and their O’Records, Ringo Or Robin Ltd furniture music and, inevitably, the reunion rumours fl ew. design) stopped almost before they started. Too Every interview any ex-Beatle did asked whether often Starr was drunk and plain bored; “You there was any chance they would get together again. just try to fi ll the day,” he once commented. Paul was mostly irritated (“I don’t think it would be Little was expected of Ringo. For Lennon and as good actually”) but John, of all people, was the McCartney, the venerable songwriting power hardest to predict and his answers over the years behind the band, expectations were high. Yet varied hugely. In 1973 he said, “The chances are each, in their own way, rather confounded them. practically nil.” Later the same year he said, “There’s The public had come to expect the unexpected always a chance. As far as I can gather from talking with Lennon’s left-fi eld solo output during to them all, would mind doing some work the Beatles years, but not many bought it. together again.” A year on he was less enthused: The harrowing, post Primal Scream Therapy “No, what for? We did it all. Christ, we can’t even wound-licking of ‘Plastic Ono Band’ (1970) get the four of us together for a meeting, let alone hardly brought them back in droves, though it play.” Later in 1974, he was less dogmatic: “You did – along with his current political militancy never know, you never know. I mean, it’s always in – earn Lennon some underground cache. the wind.” ‘Imagine’ (1971) was more approachable Lennon The sticking point appeared to be Harrison’s

and sold well but the radical sloganeering of continuing antipathy toward McCartney. In UPPA/REDFERNS

Drummer for hire: NME ORIGINALS 14 Ringo in 1971 UK TOUR DATES: JULY 21 DUBLIN Whelans, IRELAND JULY 22 CORK Cruiscin Lan, IRELAND JULY 23 LIMERICK Dolans, IRELAND JULY 24 GALWAY Roisin Dubh, IRELAND JULY 26 NOTTINGHAM Rescue Rooms, UK JULY 30 LONDON Islington Academy, UK JULY 31 MANCHESTER Academy 3, UK AUG 1 King Tuts, UK AUG 20 EXETER Beautiful Days Festival, UK

FIRST STUDIO ALBUM IN OVER IN STORES JUNE 27th

www.rykodisc.com

Rykodisc Music. Film. Culture. A State Of Mind. The Beatles Solo

Wings commander: Paul McCartney

1974 George said, “I’d join a band with John Lennon any day, but John and Paul had actually improved from ’72 onwards after a New I couldn’t join a band with Paul McCartney.” Ringo commented the York dinner where they agreed to cease “slagging each other off in same year, “How can we get together if George won’t play with Paul?”, the press” and in ’74, they even jammed together in whereas John was notably optimistic as far on as 1975: “I’ve lost all with, among others, . Amazingly, they were hanging negativity about the past… I’d do ‘’ and the whole damn together in John’s New York apartment watching TV in 1976 when show and I think George will eventually see that.” host Lorne Michaels made a “bona-fi de offer” of Whenever a Beatle appeared live, from 1971’s Concert For Bangla $3,000 for a Beatles reunion. “We almost went down to the studio, Desh to 1979’s Rock For Kampuchea, the media-led rumours built just as a gag,” John recalled later, “but we were actually too tired.” expectation of a Beatles reunion. American promoters publicly However, Lennon and McCartney’s brief rekindling as chums in invited the Beatles to reunite. In 1976 LA Bill Sargent offered the mid ’70s came to an abrupt end when Paul, guitar in hand, was $50million for a one-off televised concert and when he received no chastised by John in 1976 for arriving unannounced at John’s Dakota response, doubled the offer to $100 million. With John reportedly apartment once too often. “It’s not 1956 and turning up at the door keen, Paul revealed in an interview, “I spoke to the bugger (John) and isn’t the same anymore,” John recalled telling him. he didn’t even mention it. Where do you go from there?” The same year Sid Bernstein, The Beatles’ original US promoter, took out a full-page ad in The New York Herald Tribune suggesting The outpouring of grief at Lennon’s The Beatles reunite for a charity concert. “It’s trying to put the responsibility of making the world a wonderful world again onto The death was testament to how much Beatles,” said George. “I think that’s unfair.” Ultimately, the only reunion The Beatles could be persuaded to have The Beatles still meant, 11 years on was a legal one to prevent exploitation of their name. Their failure to stop the 1977 album release of a 1962 bootleg-quality live performance Hearing John was back in the studio in mid 1980 after fi ve years of from Hamburg’s Star Club and their inability to infl uence or prevent domesticity (recording ‘Double Fantasy’), Paul again tried to contact the artistic fi asco of the Sgt Pepper’s Lonely Hearts Club Band fi lm John, but Yoko as she was allegedly wont to do, blocked the connection. in 1978 resolved them to get organised. “We’ve just got together a McCartney often talks of how pleased he is that he and John “made it group of people to go and sue them all,” announced George in an up” before Lennon was killed, though Yoko has intimated that Paul unguarded moment in 1979. The fi rst victims were the producers of promotes the friends-again scenario because “it suits him”. a stage presentation called that had been running since John Lennon’s tragic death in New York at the hands of a deranged April 1977 and now had six shows all over the USA. (Subsequent on 8 December, 1980 was devastating enough to his family and victims of the increasingly litigious Apple included Apple Macintosh the remaining Beatles, but the public outpouring of grief of the entire computers over the rights to the corporate brand name.) music loving world was testament to how much The Beatles, as Relations between the ex-Beatles ebbed and fl owed. Ringo seemed a group and individuals, still meant to people, 11 years after the to get on with everyone but John angered George in the mid ’70s band’s demise. for failing to turn up at a pre-arranged meeting to sign a business The only dream we ever had that came true was really over now. agreement, while George angered John for barely mentioning him in

the guitarist’s 1979 autobiography I Me Mine. The feeling between Chris Ingham is the author of The Rough Guide To The Beatles RETNA

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lthough Ringo Starr had been the In the decade following happened. There followed ‘Imagine’, whose title fi rst Beatle to leave temporarily track is his most famous recording, Beatle or solo. in 1968, it was Lennon who split the break-up of The A Yoko-prompted exercise in visualisation, it suggests, the band when he asked for a through its balmy, serene chord progression, a Zen- “divorce”. He’d been unhappy Beatles, John Lennon like bliss which consists in shedding worldly things. since 1967, ironically the year The pursued a patchy How much you desire such a condition or consider Beatles revolted into colour and Lennon a paragon of it might determine how well hair. This was refl ected in the subsequent imbalance solo career that you respond to ‘Imagine’ – but millions, then now of the workload between him and McCartney, and in the future, did, do and will. who, from ‘Sgt Pepper’ onwards was driving the was peppered with ‘How Do You Sleep?’ on the same album, an acidic show, with Lennon, despite inspired interventions, sideswipe at Paul McCartney, in which he effectively a sullen passenger. Even with the group having occasional fl ashes of gives him the stare, suggests some Liverpudlian outgrown their mop-top selves, Lennon resented his former brilliance thuggishness of old lingered in Lennon. the anachronism of being a Beatle. His love affair ‘Some Time In New York City’ followed, with with Yoko Ono refl ected a desire to work on wider notoriety, as a very public celebrity bent on using Lennon espousing in song a series of revolutionary canvasses of artistic freedom. his celebrity leverage to tilt the world in the right causes ranging from the Black Panthers to the IRA. However, the albums Lennon made with Yoko direction. However, his fi rst and by far greatest solo The results are as exceedingly well-meant as they are Ono in the late ’60s, including ‘Two Virgins’ and ‘Life album, ‘Plastic Ono Band’, was gruellingly personal, woeful, the low point reached on ‘The Luck Of The With The Lions’, didn’t suggest that he had anything rather than clappy happy political. Undertaking a Irish’, when Yoko exhorts the citizens of that troubled to say in the avant-garde medium. These were the course of Primal Scream Therapy advocated by Dr land to “walk over rainbows like leprechauns”. Yet formless dabblings of two mutually obsessed lovers. Arthur Janov, who believed that neuroses in adults Lennon’s political outspokenness was enough to Still, fears that Lennon had wiped out on the were the result of very early experiences such as make him the subject of FBI monitoring. shores of artistic oblivion, drawn by Yoko’s siren deprivation of parental love, Lennon produced a However, Lennon soon became disaffected by lure were dispelled with his earliest singles. For record of often bleak, soul-scouring candour, the like leftist politics and went on a lengthy, drunken bender amid the bed-in protests, the “”, Yoko’s shrill of which he could never have done . which saw him thrown out by Yoko for a while. ululations, Lennon’s abrasive rock’n’roll instincts ‘Mother’ is an angry lament for the parents who ‘Mind Games’, released in 1973, which Lennon still thumped hard. ‘Cold Turkey’ is himself described as “the same old still one of the most harrowing, ear- ”, may have refl ected the state shredding pieces of ever of ennui from which he would take made, its painfully serrated guitars a debauched holiday, engaging in transcribing the anguish of his heroin rock’n’roll frolics with the likes of addiction and comedown. ‘Instant and . Karma!’, meanwhile, with its echoing This at least provided grist for Phil Spector production feels like a throwback to abandoned him to the care of relatives. Elsewhere, 1974’s ‘Walls And Bridges’ and a mid-life crisis-style an earlier rock’n’roll era, despite its contemporary on ‘’, ‘’ and ‘God’, album of rock’n’roll covers before Lennon was taken jargon – as if to say, get with the new programme Lennon comes across as one who has been purged of back in by Yoko. There followed years of silence on of peace, love and Aquarian harmony, or get your illusions, sees things clear and fresh, albeit from the Lennon’s part, ostensibly years of bread-baking and fucking head kicked in, dig it? bottom of a deep, dark pit. child-raising at his New York Dakota apartment, but Around this time, Lennon, the Plastic Ono Band Lennon did not complete Janov’s therapy, and he darker times according to some. ‘Double Fantasy’ and a group of well-wishers remained prone to temporary, in 1980 felt like a prodigal return to many, though also recorded ‘Give Peace A almost faddish compulsions, others felt its MOR-soaked balladry was evidence of Chance’. Even on this apparent convulsive and contradictory, a love lobotomy. Then came Chapman’s bullet, a sad piece of idealism, lurching between didactic sign that Lennon was not cocooned in bliss but, as there’s a residual, rock’n’roll pacifi sm and lapses into violent, ever, more dangerously exposed to the public than sense of the importance of a dysfunctional behaviour. He was a celebrity like him should ever have been. basic chant which has enabled three parts, yin, yang and Yoko. As an original rock’n’roll voice, Lennon had arguably the song to endure. Just months after the dead- lost the plot by late 1971. However, the story as it With his protests against the eyed cynicism of ‘Working unfolded through that decade, one of fi ckleness and Biafran war and numerous Class Hero’, Lennon had had bad behaviour but also of idealism and a willingness stunts, Lennon had succeeded his head turned by activist to put himself on the line, ensured that this violent by 1971 in establishing himself Tariq Ali and cut ‘Power To pacifi st not only escaped the shadow of The Beatles

as an ex-Beatle, through sheer The People’, like Janov never but cast a giant shadow of his own. David Stubbs GOODWIN-REDFERNSHARRY

18 NME ORIGINALS Ten Years After

TEN SOLO GEMS

1 COLD TURKEY (1969 single) One of the most frightening singles ever made, the searing, distorted is contributed by Eric Clapton.

2 INSTANT KARMA! (1970 single) ‘Instant Karma!’ epitomises the Lennon paradox, melding idealism and rock’n’roll primal energy in an exhilarating mix.

3 WORKING CLASS HERO (from the 1970 album ‘Plastic Ono Band’) Lennon at his most sarcastically deadpan and truthful, a side of him he didn’t often give vent to on record. “You’re still fucking peasants”, he jeers, lamentingly.

4 IT’S SO HARD (from the 1971 album ‘Imagine’) Lennon in viscous, bluesy mode, featuring the work of sax player , murdered a few weeks after this recording.

5 HOW DO YOU SLEEP? (from the 1971 album ‘Imagine’) Sheer, string-soaked vitriol directed at Paul McCartney, in response to perceived slights delivered by Macca on his solo album, ‘Ram’.

6 NEW YORK CITY (from the 1972 album ‘Some Time In New York City’) This crammed paean to life in conveys a feeling of Lennon’s hectic American existence.

7 WELL (BABY PLEASE DON’T GO) (from the 1972 bonus disc ‘Live Jam’) A cover of an Olympics B-Side recorded in 1971 at an appearance at ’s Fillmore East show.

8 BLESS YOU (from the 1974 album ‘Walls And Bridges’) One of Lennon’s most beautiful homages to Yoko, reminiscent of early ’70s Stevie Wonder.

9 #9 DREAM (from the 1974 album ‘Walls And Bridges’) Another paean to Yoko, based on a chant he had heard in a dream.

10 FAME (1975 single) Lennon took a co-credit on this -tipped shaft of satire.

NME ORIGINALS 19 Ten Years After

TEN SOLO GEMS

1 JUNK (from the 1970 album ‘McCartney’) Beautiful, acoustic guitar driven song that was written for The Beatles and easily up to their daunting standards.

2 EVERY NIGHT (from the 1970 album ‘McCartney’) Macca on acoustic guitar grippingly opening up about his errant behaviour as his beloved Beatles fall apart and he is left isolated.

3 MAYBE I’M AMAZED (from the 1970 album ‘McCartney’) One of the great love songs. Macca utilises the best of his vocal prowess and musical genius. Magnificent.

4 UNCLE ALBERT/ ADMIRAL HALSEY (from the 1971 album ‘Ram’) Fantastic melody realised through strings and great backing vocals.

5 MY LOVE (from the 1973 album ‘Red Rose Speedway’) The best of McCartney’s work always produces songs that on first hearing you think already exist.

6 (from the 1979 album ‘Back To The Egg’) More proof that R&B is the man’s best way to trampoline towards greatness.

7 (from the 1976 album ‘Wings At The Speed Of Sound’) Classic songwriting and a reminder that talent never really leaves such people, it just lies dormant.

8 SOME PEOPLE NEVER KNOW (from the 1971 album ‘Wild Life’) Understated song that builds so beautifully, Macca employing a fine recurring guitar line from which all great things spring.

9 I’M CARRYING (from the 1978 album ‘London Town’) Two minute sublime pop song that tantalises with its brevity yet manages to feel fully realised.

10 SINGLE PIGEON (from the 1973 album ‘Red Rose Speedway’) Some of his best songs are about birds. ‘Blackbird’, ‘Bluebird’ and… pigeons in Regent’s Park!

20 NME ORIGINALS Ten Years After

EARS A TEN Y FTER

n 1970, with his band broken and his ‘Band On The Run’ to return him to a high critical songwriting partner of 12 years turned He was the one Beatle standing and bestow upon him huge commercial against him, Paul McCartney gave up The whose solo sales success. Recorded in Nigeria, ‘Band On The Run’ is Beatles and did what all men do when they McCartney’s last fully rounded album to date. experience great loss – he threw himself managed to exceed the His forté has always been melody, arrangement and into his work. Over the next ten years, the choruses that ring around the head, his drive always man would write over 130 songs, release best of , to create songs that the nation whistles to work. ten albums, over 50 singles, tour, smoke an awful ‘Band On The Run’ displays all these qualities. amount of weed and, on his off days, raise a family. but the decade after The only problem lies with his words. ‘Jet’ may fl y The result is a body of music that remains unique in the split saw a mixed as a song but it does so carrying serious defi ciencies its unerring ability to vacillate between the sublime in the lyrical department. In fact, Macca’s since and the ridiculous. Marked by an increasing lack of creative response to The Beatles are generally of a very poor nature, a quality control as it progresses, no-one frustrates the tradition gloriously sustained with Wings’ worst listener like Paul McCartney, solo artist. Paul McCartney’s work album, ‘Venus And Mars’, hurriedly written to In The Beatles, this dual musical nature presented sustain the band’s growing success in America. no problem. “If anyone had a shit idea,” George to change shape. The fi rst two Wings albums ‘Wild Recorded in ’s studio, Harrison once said of the band, “there were three Life’ and ‘Red Rose Speedway’ are patchy affairs as he what remains so striking is how anyone can record others to kill it.” Freed of such valuable constraints, begins the search for musical balance and direction. in one of the greatest R&B hotspots and not have one Paul McCartney’s solo career is the story of a man From the debut Wings album, ‘Love Is Strange’ note of his music refl ect its recording location. And seeking vindication of his talent in a post-Beatles brings together striking elements of African and that’s a real shame because if there is one music that world. When that mission fails, he steadily turns his Jamaican music. ‘Bip Bop’, ‘Tomorrow’ and ‘Some brings forth Macca’s best work it is R&B. talent towards establishing himself as the nation’s People Never Know’ are excellent, but of most As his music dwindles in power and sustenance it cheeky elder brother, all smiles and thumbs up. interest is ‘Dear Friend’, written in response to is that now brings forth his best It began with two albums, ‘McCartney’ and ‘Ram’, Lennon’s bitter and personal diatribe about him in work. There is ‘Let ’Em In’ from 1976’s ‘Wings At that were mauled for their refusal to act Beatle-like, ‘How Do You Sleep?’. Yet, tellingly, where Lennon The Speed of Sound’, whose R&B leanings Billy but continually grow in stature. Not all the songs work, had used overt anger, McCartney can’t respond in Paul would fl esh out to such great effect, the Smokey not all the music is astounding – but it doesn’t matter. kind. Psychologically he carried little of his partner’s Robinson-infl uenced ‘Girlfriend’ from 1977’s Their greatness is in revealing a major angst and insecurity. He was always the balanced ‘London Town’ and ‘Arrow Through Me’ from of the 20th century freeing up, seeing 1979’s ‘Back To The Egg’. where his muse will take him. Occasionally fl ashes of his That place provides us with the melodic strength will emerge. ‘One beauteous melodies of ‘Junk’ and ‘Ram Of These Days’ and ‘Waterfalls’, two On’, the moving ‘Every Night’ and, gorgeous McCartney compositions best of all, ‘Maybe I’m Amazed’, whose from 1980 are beautifully realised. genius is to set ballad lyrics against a Those two songs were placed on raw set of musical surprises and a vocal performance yin to John’s turbulent yang. That’s why on ‘Dear ‘McCartney II’, a work conceived in the aftermath that ranks among his very best. Friend’, the song is shot through with a truly moving of punk, an emerging push towards The albums are not only playful and inspired (his sense of melancholia which winningly hides some of and the development of club culture. Macca’s attempt ‘Uncle Albert/Admiral Halsey’ the prime example) its overwrought nature. to assimilate all these developments reminds us of but occasionally visionary. The second half of ‘The The follow up album, ‘Red Rose the avant-garde leanings that characterised part of Back Seat Of My Car’ provides the template that Queen Speedway’, brings us two major his ’60s London life. Yet they would later steal and base their whole career on. songs in ‘My Love’ and the catchy are unable to kick-start his McCartney’s decision to musically let loose was ‘Single Pigeon’, yet this period also muse in a really meaningful necessary. The impact of The Beatles had not just yields the fi rst warning signs of the manner and how could they? been musical, but cultural. Where they went, others man’s tweeness – can you think Time robs us all. followed. Spliff in 1964, LSD in 1966, and of one other major musician who Paul McCartney has always avant-garde art in 1967 and 1968. Now freed from this could record a musical rendition written with a confl icting role, McCartney’s music is haphazardly wonderful of the nursery rhyme ‘Mary Had bird on each shoulder. In The and absolutely contemporary. Unfortunately, solo life A Little Lamb’? Beatles, his mate directed him was never going to assuage the man’s Achilles Heel It would take the dynamic, to the correct voice. His solo – his overriding need to gain the world’s adoration. ‘Live And Let Die’, his theme career suggests that he began Wings were duly formed. Now burdened with the for the James Bond fi lm of the listening to the wrong one just a

REDFERNS responsibility of a band, McCartney’s muse starts same name and the release of bit too soon. Paolo Hewitt

NME ORIGINALS 21 Ten Years After

EARS A TEN Y FTER

s the youngest Beatle, George spent After The Beatles split, All in all, though, George’s solo career had got off much of the ’60s playing second to a splendid start, not hindered when he helped Rickenbacker to John and Paul. He George delivered the to organise a series of charity at Madison had his golden moments, of course, Square Garden that would be immortalised on a introducing the into pop for the universally acclaimed 1972 live album, ‘The Concert For Bangla Desh’. fi rst time on ‘Norwegian Wood’ and ‘All Things Must Pass’ But while Harrison’s charity campaigning helped writing two of the strongest tracks to make him the Bob Geldof of his era, the former on ‘Abbey Road’ in ‘’ and the album – but through Beatle’s commercial and creative fortunes began to million-selling single ‘Something’. wobble slightly from 1973. ‘Living In The Material But for George – 27 when the Fab Four split in the following decade World’, his next album, contained a strong single 1970 – being constantly seen as the Third Man was in ‘Give Me Love (Give Me Peace On Earth)’, but it undoubtedly frustrating. Marginalised within the he found it hard to lacked drive and inspiration. In ‘Sue Me, Sue You band in their early days, the so-called Quiet Beatle again hit the same Blues’ it also showed that even George hadn’t escaped had developed into an innovative lead guitarist in an the bitterness surrounding the end of The Beatles. era before such a role conferred iconic status. high standard With younger rock fans tuning into new heroes With the demise of The Beatles, however, the in David Bowie and , Harrison’s creative shackles were lifted and the bus driver’s many of its tracks featured three percussionists, two songwriting became more introverted and prone son from Wavertree took fl ight in a burst of highly- bassists and up to fi ve acoustic guitars, while it is to self-pity on 1974’s ‘Dark Horse’ and the following energised creativity. While John and Paul spent hard to think of another big rock album on which year’s ‘Extra Texture’. ‘Dark Horse’ was a particularly much the ’70s taking verbal sideswipes at one the tambourine is shaken quite so relentlessly. sorry affair. Riddled with dreary melodies, it was another, George got on with making music. Despite all his interest in all things Eastern, overshadowed by the end of George’s marriage to Using material stockpiled over the years, he this ambitious triple album was dominated by . A parody of ’ ‘Bye launched his post-Beatles solo career with 1970’s commercial, country-tinged soft-rock rather than Bye Love’ was a direct comment on her decision to spectacular triple album ‘All Things Must Pass’. He anything that even vaguely fi tted the term ‘world leave him for “old Clapper” (aka George’s erstwhile also organised 1971’s Concert For Bangla Desh and music’. With George having been ‘knocked sideways’ buddy Eric Clapton). maintained a prolifi c work-rate for the rest of the by Peter Green’s fl uent solos on ’s Despite poor sales, 1976’s ‘Thirty Three & 1/3’ was decade. And while some of his later an improvement. Despite being albums lacked verve, he did manage out of sync with the burgeoning a spirited comeback shortly before his punk movement, it was a more death in November 2001. upbeat affair that seemed to restore Harrison’s solo career opened in 1968 Harrison’s love for music. Among with a fl urry of , , sarods and the highlights were ‘Pure Smokey’ sur-bahans on ‘’. (a Smokey Robinson) and The follow-up, ‘’, was even more ‘Albatross’, released just a year earlier, it was also ‘’ (originally penned for The Beatles). left-fi eld. Released on the short-lived Zapple label (an notable for some scintillating passages of . He didn’t trouble the . But, for a while, arty Apple offshoot), the album comprised two long As a songwriter, too, Harrison was coming into his George was back. pieces, ‘Under The Mersey Wall’ and ‘No Time Or own. ‘My Sweet Lord’, with its acoustic rhythm and From this point on, sadly, Harrison’s output Space’, which mixed electronic scales, space echoes electric melody, was a fantastic gospel-pop number. became increasingly uneven and did himself few and radio static. “It could be called avant-garde,” His “unintentional plagiarism” of The Chiffons’ favours with songs that spoke about Formula One Harrison admitted at the time. ‘He’s So Fine’ aside, the chart- racing and beach holidays in Hawaii. “But a more apt description topping single was a masterpiece But there were still fl ashes of his old genius. He would be ‘avant-garde clue’.” that combined spiritual lyrics celebrated the memory of John Lennon on 1981’s ‘All In 1970, with the magnifi cent with a glossy sound. Much the Those Years Ago’ and, after a fi ve-year sabbatical, ‘All Things Must Pass’, he same went for ‘’, hit the commercial jackpot once more with the old produced one of the era’s another memorable pop song. Rudy Clark hit ‘Got My Mind ’. defi ning rock albums. With If the album had fl aws, they He signed off with a fl ourish. His posthumously- Phil Spector producing – and were largely confi ned to the self- released 2002 album, ‘Brainwashed’, took George’s Clapton, Starr and organist indulgent third disc – a glorifi ed appreciation of traditional rock, blues and folk into Billy Preston part of the studio jam session – and a tendency to a new millennium. It was an apt conclusion to a solo band – ‘All Things Must Pass’ over-egg the mix on tracks such career in which the Quiet Beatle emerged from the had all the whistles and bells of as the overwrought ‘Wah Wah’ shadows to make a big noise as a singer, songwriter,

Spector’s classic : and ‘’. producer and activist. Adrian Thrills HEILEMANN PRESS/WOLFGANG CAMERA

22 NME ORIGINALS Ten Years After

TEN SOLO GEMS

1 WHAT IS LIFE (from the 1970 album ‘All Things Must Pass’) One of Harrison’s greatest guitar riffs – brilliant pop. An A-side in the US, but the flip-side of ‘My Sweet Lord’ in the UK.

2 BANGLA DESH (1971 single) This jazz-blues-rock shuffle set the template for Band Aid.

3 MY SWEET LORD (from the 1970 album ‘All Things Must Pass’) George manages to get “Hallelujah” and “” all the way to Number One – but the lawyers soon started circling.

4 WHILE MY GUITAR GENTLY WEEPS (from the 1972 album ‘The Concert For Bangla Desh’) The classic ‘White Album’ track revisted with the aid of Eric Clapton once again.

5 GIVE ME LOVE (GIVE ME PEACE ON EARTH) (from the 1973 album ‘Living In The Material World’) A slice of spiritual pop which became George’s second solo Number in the States.

6 PARTY SEACOMBE (from the 1968 album ‘Wonderwall Music’) Whimsical ’60s from George’s experimental dabblings.

7 PURE SMOKEY (from the 1976 album ‘Thirty Three & 1/3) Harrison’s soulful tribute to Mr Robinson, “one of the best around”.

8 (from the 1970 album ‘All Things Must Pass’) Dylan-penned country-rocker – also ‘Livvy’ Newton-John’s first hit)

9 WOMAN DON’T YOU CRY FOR ME (from the 1976 album ‘Thirty Three & 1/3’) Bottle-neck blues workout, initially intended for ‘All Things Must Pass’.

10 TRY SOME BUY SOME (from the 1973 album ‘Living In The Material World’) A joint effort with Phil Spector.

NME ORIGINALS 23 Ten Years After

TEN SOLO GEMS

1 BACK OFF BOOGALOO (1972 single) Good time rock’n’droll to match the Faces, inspired by Marc Bolan’s preffered rebuke to vibe- encroaching fans.

2 IT DON’T COME EASY (1971 single) Autobiographical single-smash which kick-started a run of light- hearted Top Ten hits.

3 EARLY 1970 (1971 B-side) Much loverlooked flipside of ‘It Don’t Come Easy’ which provides Ringo’s thoughts on The Beatles’ break-up.

4 I’M THE GREATEST (from the 1973 album ‘Ringo’) Lennon-penned tribute to self-love. John also supplies backing vocals, while George weighs in with an electrifying lead guitar break.

5 YOU’RE SIXTEEN (from the 1973 album ‘Ringo’) This ’50s pop-crooner featuring Paul McCartney on kazoo topped the charts in the US.

6 PHOTOGRAPH (from the 1973 album ‘Ringo’) Put it down to moving to John Lennon’s mansion, but Ringo’s first US Number One came soon after with this lush, acoustic ballad.

7 SUNSHINE LIFE FOR ME (SAIL AWAY RAYMOND) (from the 1973 album ‘Ringo’) Joyful hillbilly romp penned by George Harrison.

8 GOODNIGHT VIENNA (from the 1974 album ‘Goodnight Vienna’) Rocking Lennon-penned track celebrating the joys of boozing, penned during his 15-month “lost weekend”. What’s not to like?

9 DEVIL WOMAN (from the 1973 album ‘Ringo’) Ringo goes . Tongue-in- cheek misogynistic lyrics can be put down to, ahem, “high spirits”.

10 SNOOKEROO (from the 1974 album ‘Goodnight Vienna’) Listen from behind the sofa classic of sorts. Elton John-penned song about a working class Northerner called Snookeroo.

24 NME ORIGINALS Ten Years After

EARS A TEN Y FTER

“ ow I’m only 32/And all I wanna do songs didn’t bear close scrutiny. Free from the rage of is boogaloo!” sang Ringo Starr on From actor and fi lm- Lennon, the self-pity of Harrison and the saccharine ‘I’m The Greatest’ in 1973, and it maker to Number One aspect of McCartney, its warmth was refl ected in the serves as the perfect epithet for the fi nal ‘ (Babe)’ where Ringo provides a topsy-turvy pleasures of his solo hit-maker, Ringo’s solo roll-call of thanks to all those who contributed. career. Having assiduously avoided Inevitably this golden period couldn’t last. With his taking sides during a decade in the career was erratic, marriage to childhood sweetheart Maureen on the most successful group on the planet, the time had rocks, follow-up ‘Goodnight Vienna’ (boozers’ slang fi nally come for the man formerly known as Richard but always interesting for over-indulgence) failed to stop the rot despite Starkey to, well, have some fun. the efforts of Dr John and Elton John (although And there was only so much fun to be had acting Blues’ (a country set recorded in Nashville), both the latter hardly helped matters with a song about (opposite Frank Zappa and David Essex in 200 albums acted – at best – as a necessary clearing of the a fl at-cap wearing Northerner called ‘Snookeroo’). Motels and That’ll Be The Day), moonlighting as a creative pipes. Meanwhile the sleeve (a pastiche of The Day The movie director (for Bolan fl ick ) and It worked. By April ’71 he’d released the splendid Earth Stood Still with Ringo cast as planet saviour) starting up a sideline in upmarket art deco furniture ‘It Don’t Come Easy’ (co-written by George) and suggested more time had been spent on art direction (ill-fated company Ringo Or Robin Ltd). Sooner or embarked on a string of surprise Top Ten hits. than the contents. later he had to get back to work. Inspired by his time directing Marc Bolan in pop- Seeking refuge in the party lifestyle he followed “I wasn’t looking for a solo career,” Ringo later fl ick Born To Boogie, 1972’s ‘Back Off Boogaloo’ it by playing on Nilsson’s ‘’, produced recalled. “My feeling was: ‘I’m a musician and continued the upward curve. A driving rocker with by John Lennon during his infamous 15-month I made records and now I’m going to make them on lyrics cribbed from the elfi n rocker, it cemented “lost weekend”, which did a lot for his self-esteem, my own. And in my case I’m going to make them his appeal to pop fans as the most likeable Beatle, although less for his liver. With the overblown with a lot of other people.’” while surfi ng the ’50s-retro wave then engulfi ng the ‘Ringo’s Rotogravure’ (1976) signalling a full-scale Indeed. While John and Paul used their early charts. With good-natured follow-up ‘Photograph’ slump, his career went into a tailspin with follow records to snipe at each other from behind the (another co-write with George) cruising to Number up albums ‘Ringo The 4th’ and ‘Bad Boy’ (sleeve: studio barricades and George unleashed the musical One in the US charts thanks to a hang-dog lyric (“All Ringo nursing a drink) which, released in the fl oodgates with ‘All Things Must Pass’, Ringo set I’ve got is a photograph/And I realise you’re not coming creative maelstrom of punk, managed to sound both about forging a different kind of archetype: the back any more”) anchored to ’s upbeat directionless and hopelessly outdated. “We weren’t rock star indulgence album. Wealthy musicians dabbling in drugs and beyond his wildest dreams and an eager alcohol; now we were junkies participant in the transglobal high-life dabbling in music,” recalled Ringo which saw him pinballing between of the period. parties in London, Monte Carlo and “I was more interested in LA, the only thing left to do was fi ll the boogieing, just going out to parties time before cocktail hour in the studio. and not caring what I did. And I slid Cue a decade of albums inspired by enough booze production, Ringo took on the unlikely mantle of so far I ended up in rehab.” to fl oat the QE2, boasting a cast of thousands ranging most successful solo Beatle just in time for 1973’s Tellingly, by the end of the decade the ill-health from Elton and Eric Clapton to Marc Bolan, Keith tour-de-force ‘Ringo’ album. which had dogged Ringo from childhood returned Moon, The Band and Dr John and beyond. Oh, and Boasting a star-studded line-up, a lavish to haunt him. In April 1979 he collapsed in Monte a certain John Lennon, Paul McCartney and George ‘Sgt Pepper’-ish sleeve and Carlo and was only saved from death by emergency Harrison. With a little help from this line-up of accompanying lyric book, it was a surgery, while he narrowly friends he’d surely get by. And who cares if he sang triumph of reconciliation to match avoided injury during a fi re out of tune? the achievements of the United at his home in Los Angeles His solo path, inevitably, began in . Nations. Including the Lennon- later the same year which ‘Sentimental Journey’ (1970), a collection of songs penned ‘I’m The Greatest’ destroyed much of his Beatles he’d learned during childhood sing-songs at home (complete with lacerating lead memorabilia. The musical in Dingle, instantly established Ringo as the rootsiest guitar from George), Paul journey from Top Ten to rock and least affected of the Fab Four. An elaborately McCartney’s ‘Six O’Clock’ and bottom was complete. But it orchestrated collection of ballads each assigned regular interventions from would take almost another its own arranger – weighs in with trusted Beatle lieutenants Nicky entire decade for Ringo to wake ‘Love Is A Many Splendoured Thing’ – it served, as Hopkins, Klaus Voormann up to the perils of the boogaloo Ringo later noted, to “get me off my bum and back and Billy Preston, it at least felt lifestyle that was slowly killing into recording”. Rapidly followed by ‘Beaucoups Of like a Beatles album even if the him. Paul Moody

NME ORIGINALS 25 © CHAPTER ONE

JOHN ‘Power To The People’ ‘Plastic Ono Band’ ‘Imagine’ War of words with Paul ‘Happy Xmas (War Is Over)’ PAUL ‘McCartney’ ‘Another Day’ ‘Ram’ Forms Wings GEORGE ‘All Things Must Pass’ Sued over ‘My Sweet Lord’ Concert For Bangla Desh RINGO ‘Sentimental Journey’ ‘It Don’t Come Easy’ Films Blindman Records ‘Beaucoups Of Blues’ in Nashville 1970-1971

ere you infl uenced by Which instruments have you played John’s adventures with on the album? the Plastic Ono Band , “Bass, drums, acoustic guitar, lead and Ringo’s solo LP? guitar, piano and organ/, toy W “Sort of but not really.” xylophone, bow and arrow.”

Are all the songs by Paul McCartney Have you played all the instruments alone? on earlier recordings? “Yes, sir.” “Yes – drums being the one that I wouldn’t normally do.” Will they be so credited: McCartney? “It’s a bit daft for them to be Lennon/ Why did you do all the instruments? McCartney, so ‘McCartney’ it is.” “I think I’m pretty good.”

Did you enjoy working as a solo? Will Linda be heard on all future “Very much. I only had me to ask records? for a decision, and I agreed with me. “Could be: we love together, and Remember Linda’s on it too, so it’s have plenty of opportunity for practice.” really a double act.” Will Paul and Linda become a John What is Linda’s contribution? and Yoko? “Strictly speaking she harmonises, “No, they will become Paul and Linda.” but of course it’s more than that because she is a shoulder to lean on, Are you pleased with your work? a second opinion, and a photographer “Yes.” of renown. More than all this, she believes in me – constantly.” Will the other Beatles receive copies? “Wait and see.” The album was not known about until it was nearly completed. Was What has recording alone taught you? this deliberate? “That to make your own decisions “Yes. Normally an album is old before about what you do is easy, and it comes out. Witness ‘Get Back’.” playing with yourself is diffi cult, but satisfying.” Why? “I’ve always wanted to but a Beatles Who has done the artwork? Thumbs up from album like ‘people’ do and be as “Linda has taken all the photos and Paul and the April 1970 lovely Linda, 1970 surprised as they must be. So this was she and I designed the package.” NME, 18 , page 2 Question time with Paul! Rather than do interviews to promote ‘McCartney’, Paul issued a Q&A press release. In doing so he revealed to the world that The Beatles were no more

the next best thing. Linda and I are the Is it true that neither Allan Klein nor Are you planning a new album or Were any of the songs on the album only two who will be sick of it by the ABKCO have been nor will be in any single with The Beatles? written for The Beatles? release date. We love it really.” way involved with the production or “No.” “Junk’ was intended for ‘Abbey Road’, promotion of this new album? ‘Teddy Boy’ was for ‘Get Back’ but Are you able to describe the feel or the “Not if I can help it.” Is your break with The Beatles, something happened.” theme of the album in a few words? temporary or permanent, due to “Home, family, love.” Did you miss the other Beatles and personal differences, or musical ones? Were you pleased with ‘Abbey Road’? George Martin? Was there a moment, “Personal differences, business “It was a good album.” How long did it take to complete from for example, when you thought: “I differences, musical differences, but when to when? wish Ringo was here for this break”? most of all because I have a better What is your relationship with Klein? “From just before (I think) Xmas, “No.” time with my family. Temporary or “It isn’t. I am not in contact with him. until now. ‘The Lovely Linda’ was the permanent? I don’t know.” He does not represent me in any way.” fi rst thing I recorded at home, and was Assuming this is a very big hit album, originally to test the equipment.” will you do another? What do you feel about John’s peace What is your relationship with Apple? “Even if it isn’t, continue to do effort? Plastic Ono Band? Giving back “It is the offi ce of a company which Assuming all the songs are new to the what I want – when I want to.” the MBE? Yoko’s infl uence? Yoko? I part own with the other three public, how new are they to you? Are “I love John and respect what he does Beatles. I don’t go there because they recent? Is this album a rest away for The – it doesn’t give me any pleasure.” I don’t like offi ces or businesses “One was 1959 (‘Hot As Sun’). Two Beatles, or a start of a solo career? especially when I’m on holiday.” from (‘Junk’, ‘Teddy Boy’) and “Time will tell. Being a solo album Do you foresee a time when Lennon/ the rest are pretty recent. ‘Valentine means it’s the ‘start of a solo career’. McCartney becomes an active song What are your plans now? A holiday? Day’, ‘Momma Miss America’ and ‘Oo And not being done with The Beatles writing partnership again? A musical? A movie? Retirement? You’ were ad-libbed on the spot.” means it’s a rest. So it’s both.” “No.” “My only plan is to grow up.”

28 NME ORIGINALS 1970-1971

McCARTNEY Paul McCartney Apple REVIEWED: NME, 18 April 1970, page 3 o I forget the shouting, and I sit back and listen to Paul McCartney’s first solo SLP, ‘McCartney’. He himself describes the mood and the feel of the music as “light and loose” but the first play still comes over as perhaps too harmlessly mild. The second time around, and ever since, ‘McCartney’ turns out to be an immensely warm and pleasurable album… nice to hear, satisfying to own, good to have around. Listening to it is like hearing a man’s personal contentment committed to . “This was given lyrics one day Most of the sounds, effects and ideas are after lunch, just before we left for Morgan studios, sheer brilliance; much of the aura is of quiet where it was finished that afternoon.” songs on a hot summer night; and virtually all of the tracks reflect a kind of intangible Momma Miss America roundness. ‘Excitement’ is not a word to use Can’t figure why there’s this straight voice for this album… ‘warmth’ and ‘happiness’ are. calling “rock’n’roll springtime take one”, because Here is my assessment of the album track by it moves into an even more Shadows-flavoured track, with McCartney’s comments following. thing. But it’s another first-class track. “An recorded completely at home. The Lovely Linda Made up as I went along – first a sequence of A cheerful, light voiced lilting thing (is that chords, then a melody on top.” squeak meant to be there?), all about the lovely Linda with the lovely flowers in her hair. Teddy Boy But it hardly starts before it pulls up to a stop The soft, chunking, wistful singalong of a boy with a kind of horsy flourish. named Ted, whose momma went off with this Paul: “When the Studer four-track was installed bloke while his dad was away at war. Linda is in at home, this was the first song I recorded to test the background singing nice harmonies. the machine.” “Another song started in India, and completed in Scotland, and London, gradually. was Paul McCartney: recorded for the Get Back film, but later not used.” This is a kind of oozy sexy ass back and forward completely , in which McCartney broods that it’d stylish, from the Singalong Junk “be somethin’ to meetcha in the fallin’ waistcoat down Another version of this haunting French-style rain, momma… meetcha in the fallin’ Glasses piece of romantic memory. rain”. All very hot, it is, with the riff No more than a few seconds of brief “This was take one, except for the vocal version which was rumbling around, and then the Excitement and eerie Doctor Who stuff, slightly take two, and a shorter version.” whiplash of the cymbals moving is not a word for disturbing, before a few sung words into a kind of kiss of the brass about “nothin’ doin’”. Maybe I’m Amazed and some back-of-the-throat this LP, warmth “Wine glasses played at random and Tight, light voice again, with a mid-tempo which gets yelps. A good track. overdubbed on top of each other.” wilder and softer by turns. “ was written in Scotland and happiness “Written in London, at the piano, with the second verse in 1969 and recorded at mic, as the Junk added slightly later, as if you cared. A movie was made, using mixer and VU meters hadn’t arrived.” are Lovely, beautiful, wistful; probably the Linda’s slides, and edited to this track.” best song on the album. Floating voice and Valentine Day images of nostalgia… a sentimental jamboree. Kreen-Akrore This is an instrumental with a slight “up” feel: unusual “Originally written in India, at Maharishi’s camp, and This is a fascinating and imaginative instrumental to describe, but again slightly tropical. completed bit by bit in London.” telling the story of a jungle hunt in musical “Recorded at home. Made up as I went along. The track is all images, right down to the sound of heavy instrumental. Mixed at EMI.” Man We breathing (going faster and faster), and the Was Lonely thump of heartbeat drums. Every Night Starts like a Shadows’ film theme, then into “There was a film on the TV about the A beautiful song which should become some kind of a - Kree-Akrore Indians living in the Brazilian standard, flowing along like a high-class singalong, a little type singalong with jungle, their lives, and how the white man like an extension of ‘You Never Give Me Your Money’. Nice Linda. Homely fun stuff. is trying to change their way of life to his, “oo-oo” chorus, chiming echo, and plenty of acoustic. “The chorus (‘man we was so , after lunch, I did some “This came from the first two lines which I’ve had for a few lonely’) was written in bed at home, drumming. The idea behind it was to get the years. They were added to in 1969 in Greece on holiday.” shortly before we finished recording feeling of their hunt.” the album.” Hot As Sun To sum up, this is an album to be A pleasant Hawaii-type instrumental; mid-temp; with Oo You appreciated most of all for its complete a quick runaway finish. Earthy intro, tight throat, clipped soft-sway style. Even the packaging – with some “A song written in about 1958 or maybe earlier, when it was vocal about “talk like a baby… love like a fine pictures by Linda – has obviously one of those songs that you play now and then.” woman”. Good. been a labour of love. Alan Smith TOPHAM PICTUREPOINT/CAMERA SINGER PRESS-SUS

NME ORIGINALS 29 1970-1971

SENTIMENTAL JOURNEY Ringo Starr Apple

REVIEWED: NME, 4 April 1970, page 10 his is the album of 12 tunes which Ringo Starr remembers his mum and dad liking when he Twas a lad. Ringo must have liked them, too, because he has gone to quite long lengths to sing them well, and to have top-class backing behind him while he is doing it. He has had some very famous arrangers working on a tune each and the result is quite surprising. If you asked someone to guess who was singing, I’m sure few, if any, would guess it was Ringo. I mean, he sings better than you’d expect him to, after his reluctance to sing with The Beatles. (Or was it lack of opportunity?) On some songs he sinks a bit too low and has an effort to recover, but mostly he is on the beat and on the melody line. The songs are all surefire and I forecast healthy sales for this LP. A real swinger, with Ringo double-tracking ‘Sentimental Journey’ by Bud Green, Les Brown and having fun… and giving it. and Ben Homer, arranged by , ‘I’m A Fool To Care’ by Daffan, arranged has a relaxed, jazz-sounding backing. by Klaus Voormann. More double- Ringo is a little unsure, a little tense, tracking vocal, with good effect. until joined by other singers. If you The Starr Brothers! Sung nice and nce upon a time there was a group ‘Night And Day’ by Cole Porter, easy with a string and jazz called The Beatles. They sold a lot of arranged by Chico O’Farrill, is asked anyone backing. Great. records, collected millions of fans all higher and Ringo seems happier who was singing ‘Stardust’ by Hoagy over the world and became legendary. and consequently easier. Carmichael and Mitchell O Now there are four young men ‘Whispering Grass’ by F and few would guess Parish, arranged by Paul called John Lennon, Paul McCartney, George D Fisher, arranged by Ron McCartney. Not sung too Harrison and Ringo Starr. In theory they are still The Goodwin. Ringo gets into the it was Ringo confidently, but Ringo gets Beatles. In practice they are not. spirit of this former Ink Spots hit. the message over. Backing They have all made a lot of money and, barring ‘Bye Bye Blackbird’ by Mort Dixon instrumental better than vocal here. a catastrophe, will live happily ever after. Their future and Ray Henderson, arranged by ‘Blue Turning Grey Over You’ by is as vague as their success was phenomenal. Everyone . Razaf-Waller, arranged by Oliver Nelson. More knows about the past, but no-one is too sure about double-Ringo, singing a jog-trot, swinging song. their future, if they have one as The Beatles. Very lively accompaniment. Above the Apple offi ces in London’s ‘Love Is A Many Splendored Thing’ by there hangs a black fl ag. Their last album ‘Let It Be’ Sammy Fain and Paul Webster, arranged by was packaged in a black cover. It appears to be an Quincy Jones. Ringo has a vocal group helping omen that The Beatles are over. It is extremely him here, and the whole is most acceptable. unlikely that there will ever be any more records ‘Dream’ by Johnny Mercer, arranged by George Martin. Ringo double tracks pleasantly this 1945 million seller for the Pied Pipers. In theory these four ‘You Always Hurt The One You Love’ by Doris Fisher and Allan Roberts, arranged young men are by Johnny Dankworth. Ringo takes this at a good pace, sings it well. still The Beatles. In ‘Have I Told You Lately That I Love You’ by Wiseman, arranged by Elmer Bernstein. practice they are not Another higher pitched song, with Ringo singing in between big brass booms. It by the group and it is even more remote that they comes off OK. ever perform again as a quartet. ‘Let The Rest There are a lot of questions their millions of fans Of The World Go want answering. This week Melody Maker put some By’ by Brennan of them to their offi cial spokesman at Apple. Here are and Ball, his replies. arranged by Les Reed. Another Melody Maker: How long is it since The Beatles – singalong with all four of them – actually played together? a vocal group Apple spokesman: “The last time was during the as well as Ringo, recording of the ‘Abbey Road’ album which was in until the very end. the late summer of 1969. Various members of the Ringo in the Good pub jukebox group have since recorded together on individual ‘Sentimental Journey’ number. promo fi lm, March 1970 sessions. George has been on Ringo’s sessions and Andy Gray vice-versa, but all four have never actually played

together since summer 1969. That’s about a year ago.” PRESS/CORBIS CAMERA

30 NME ORIGINALS 1970-1971

Are there any plans for a recording session? “There are no plans at all.”

Are there plans for any kind of performance? “None. There are no plans for any shows or tours.”

What plans do the individual members of the group have for the future? “I don’t think any of them have any long-term plans. They have never made long-term plans, even in their touring days. George has developed as a and will probably continue this. Ringo is exploring different things. He may do more fi lms and may do more comedy, singing and acting.”

Have The Beatles fi nished as a group? “That is a question I cannot answer. There is no harm in anyone discussing it but it is a futile discussion for people who are not involved in it. I don’t think they will ever lose their Beatles tag even though they may never work together again.”

The Beatles in Was ‘Let It Be’ the last Beatles album as it appeared 1969: at the end to be from the way it was packaged? of the long and winding road “That way it was packaged did not mean it was the fi nal album. The artwork was planned long before all , 15 August 1970, pa Beatles:NME ge 27 the facts Is there any recorded material still unreleased? but we don’t know when it will be released. This will “No. Even if there was it would never be issued. The be very different from his other solo albums. The the publicity about the group breaking up. It may group are always very conscious of keeping up with other two have not been in the but I have looked like that but it wasn’t meant to.” the current tastes.” would presume they have not been idle during the summer. It is not their nature to sit and do nothing.” Does the fact that there are no plans for the future Are any of the individual members working on solo mean there is no future for The Beatles? albums at present? Why has John Lennon been in Los Angeles all year? “No. The fact that there are no plans doesn’t mean “Ringo has completed his country album in “He is living quietly over there. There have been no anything. The group have never planned things. It is Nashville and it will be released in September. press reports about his activities so I assume he is living not essential to make plans with The Beatles.” George is nearing the completion of his new album quietly. He has rented a house. There’s building going on at his house in Ascot. I have So there is a slight chance we may hear from the MM, 2 May 1970, page 32 no idea when he will be back.” world’s most successful beat group again. In their latest book which traces their careers from ‘’ Where are the other three to the present day there are a number of blank pages Beatles at the moment? at the end. At the top of each it says “to be continued”. “Paul is at his farm in Scotland. We shall without doubt hear a lot more about The I have no idea when he will Beatles so that the blank pages can be fi lled. But return to London. George and whether we shall hear The Beatles together again now Ringo are both at their homes.” appears too remote to consider.

MM, 29 August 1970, page 32

NME ORIGINALS 31 I really don’t know why ALL THINGS MUST PASS Apple has taken so long to

issue this single in Britain. Apple Surely the company wasn’t George Harrison waiting to be reassured by REVIEWED: NME, 5 December 1970, page 2 its success in America! But, eorge Harrison’s three- No matter the quality of the of course, this is typical album set ‘All Things Must music, his words never let of Apple’s policy – there Pass’ will prove that it is him down. is scarcely any advance G warning and new singles a long time since so much love and I was glad of the mental just appear unexpectedly care have been wrapped into one escalation of ‘Run Of The from nowhere! package by one profile artist. Mill’, a mid-tempo number: Mind you, I shouldn’t think this latest release is in need of Like the McCartney album, ‘All but it took Side Three and much promotion, because everyone will be clamouring to Things Must Pass’ stands head and the rumbling piano of play it. In my estimation, this record – finally and irrevocably shoulders above just about any other ‘Beware Of Darkness’ to – establishes George as a talent equivalent to either Lennon solo album released this year – but hold me again. or McCartney. there’s still something missing! ‘’ is Album tracks seldom make smash hit singles in this country, but this is bound to be an exception. And with quite a lot of Side one begins with a wistful Harrison’s name for the indifferent stuff around just now, it’s a potential Number One. and touching song co-written by girls who hang around the Derek Johnson NME, 16 January 1971, page 8 Dylan, ‘I’d Have You Anytime’, and is Apple steps in Savile Row, followed by the current Harrison hit and it’s a , pacy single in the US, ‘My Sweet Lord’. piece with ‘Wah-Wah’ is an inconsequential and a girlie chorus, song about the benefits of wah-wah followed by a song- Somebody Dying’; another guitar: one of the weaker tracks, tale called ‘Ballad fell in love arrangement of A welcome single from although it’s not short on dressing. Of Sir Frankie with the idea ‘Isn’t It A Pity’ Paul, co-written with Next is ‘Isn’t It A Pity’, another good Crisp (Let It Roll)’, which I found his wife Linda. It’s not number which this time catches the which may take of releasing a moving; and then so instantly commercial mood of aching tolerance of pain a little longer for mammoth the impassioned as Harrison’s hit, and which Harrison can do so well. me to appreciate. hymn ‘’. probably won’t be such Side two is opened by the up- Next is ‘Awaiting album The final record of a fantastic smash, but tempo ‘What Is Life’ and then we’re On You All’, a rapid the three is a jam session that’s probably because into the second Bob Dylan number, fire thumper with good chord for George and friends – mainly a it’s a more complex song. ‘If Not For You’. ‘Behind That Locked progressions. The title track is continuing riff going on and on. The story of a lonely girl who waits in her room Door’, is country-meets-Hawaii, another slow number, and apart from It’s a beautifully musically-dressed for her lover to arrive (presumably because he’s a married which should be sent to Slim some interesting guitar fills I didn’t album, but somewhere along the man), it’s tinged with that wistfullness which characterises Whitman without further delay. find it particularly distinguished. line somebody fell in love with the so many of Paul’s songs. On ‘’ I listened Side Four opens with ‘I Dig Love’ idea of releasing a mammoth album. Paul dual tracks much of it, with a pungent acoustic especially to the romantic delicacy (which will also stand the passage Often its brilliance is overshadowed guitar sound adding depth to the backing. A song that and perception of Harrison’s words. of time); then the up-tempo ‘Art Of by its averageness. Alan Smith takes time to grow on you – but once its perception and beauty have registered, you’re hooked on it. The flip is much harder, with Paul at his most fervent and uninhibited NME, 27 February 1971, page 10 in ‘Oh Woman Oh Why’. A surefire hit of course. Derek Johnson NME, 27 February 1971, page 8 Harrison to be sued over ‘My Sweet Lord’ With this surprise single is Lennon deliberately putting himself into a chart battle eorge Harrison’s publishing company and with his one-time friend Apple are being sued on the allegation and now, it would appear, that Harrison’s world hit ‘My Sweet Lord’ rival? Past form would infringes the copyright of The Chiffons’ suggest McCartney had the G upper hand, though to a million-seller of the ’60s, ‘He’s So Fine’. degree that has been down New York attorney Seymour Barash is publisher and to commerciality rather was producer of the song, and his Bright Tunes Music than quality. Corporation will be versus Music Inc, After the disappointingly trivial Broadcast Music Inc and . McCartney single, Lennon’s stunner is more than welcome. Action is being taken on his behalf in this country by In content, it is something of a cross between ‘Cold Keith Prowse Music – KPM – who hold virtual world Turkey’, ‘Instant Karma’ and ‘’. As rights on ‘He’s So Fine’. in the latter, the lyric line is basically a handclapping Details published in connection with this week’s incantation of the title repeated over and over by a mass of voices, in the background of which swirls a honky tonk court action in London, by Paul McCartney seeking to sax lifted straight out of a ’50s rock’n’roll 45. Again like ‘Give dissolve The Beatles’ partnership, indicate that ‘My Sweet Peace A Chance’, it’s a Lennon ‘street’ song and one can only Lord’ will earn more than £1 million this year. But one hope it gets more public attention than has previously been effect of this new move by the ‘He’s So Fine’ publisher accorded to his solo work. is that royalties would be until such time as the Derek Johnson NME, 13 March 1971, page 8 copyright infringement allegations are dealt with.

32 NME ORIGINALS 1970-1971

Even if he can’t sing for peanuts... NME, 24 April 1971, page 20 Good to see Ringo is having a go

here is, should you buy tell me he’s built a lake) will well know Ringo Starr’s ‘It Don’t to whom the reference refers. Come Easy’ and turn So nice is it to hear this fascinatingly T over to the B-side, ‘Early topical lyric, in fact, after the 1970’, an interesting story-in-song in singalong schmaltz of ‘Whispering which Mr Starr relates how he would Grass’ and ‘Sentimental Journey’ very much like to come to town one and the country-lush muzak of day “and see all three”. Some hope, ‘Beaucoups Of Blues’ that even Mr one might feel in view of the recent was moved to follow Scene mud-slinging in which all four of the And Heard and include ‘It Don’t The Starr man: said moptops were involved among Come Easy’ in his show the other day. getting topical the pomp and circumstance of one of Her Majesty’s It is, of course, undoubtedly one of the best, Law Courts – but the sentiment is there. thumpin’est things the Starr man has ever done, and The perceptive may also have taken note of another it gives me no surprise to see the song jumping like The one thing with Ringo is he can’t sing for peanuts. pointed item within the lyric, a £40,000 house he mad up to Number 12 in the NME Chart this week. He sings the way I get drunk – badly. But on the credit never sees, and anyone who ever simply drove and That’s a very strong hook he’s got there, and George side we have an inventive mind and a dry wit coming drove and drove around the eternal perimeter of Harrison has given the record a fat, pumping backing more and more into play with better songs. One day he John Lennon’s often-empty country home (and they full of guts and stuff. may even write a masterpiece. Alan Smith

PLASTIC ONO BAND John Lennon Apple

REVIEWED: NME, 12 December 1970, page 7 get the impression that John Lennon Mother chants about finding out about has much fear in his make-up. Also a A lament, slow and funereal, with the things, but the insistent guitar and Igreat big chip on his shoulder about drums sounding like those in French throbbing drums makes it hard to class consciousness and the unfairness of Revolution films as they follow the victims hear the words. the world. to the guillotine. John sobs out that his He gets to grips with social problems in mother didn’t need him but he needed her, Working Class Hero his latest self-written album and most and beseeched her not to die. Now we can hear John’s voice people will realise he is saying a lot of because he wants you to get the truths, especially about school days and Hold On message. It’s a tirade on how cruelly when you’re asked to choose a career. Sombre. Words are smothered children are treated. Sung in Two songs – to begin and end the album by instruments, but the a Dylan-ish style with – are about mothers, both sad and most message seems to be to the final message probably about John’s mum, who died so hold on, because you Lennon “If you want to be early in his life. In the first song, ‘Mother’, will see the light. a hero/Well, I have rarely heard so much anguish and has a great just follow suffering put into a track. I Found me”. The Plastic Ono Band comprises Ringo Out big chip on Well Well Well Starr on drums, Klaus Voorman on bass and Big Afro beat his shoulder Isolation A long track, with a thump on bass drum John Lennon on guitar and piano, with behind the high- Piano is used to great sound throughout. Fuzz guitars and John’s Billy Preston at the keyboard on occasion. pitched, distorted about class effect, but the words deeper voice. Words distorted, becoming Here is a track by track review of the LP. vocal in which he are also clear. Message screeches, with the rhythm becoming is a fear of isolation and super intense. Good track. the fact that one can do so little to rectify things. Look At Me Quiet, far off, wistful. Very simple, as are Remember all the songs on the LP. Faster, with a monotonous plunk-plunk repetition from the guitars. A sort of God speech talk song to . This has a jerky country piano beat. John Lennon on religion, with God as a concept Love to measure our pain, and a long list of Slow, sentimental guitars and the lyric things NOT to believe in. Compelling. giving a lot of definitions about what love is – touch, knowing, freedom, living, My Mummy’s Dead reason etc. Quiet, not much tune, but a A very short sad lyric written as a nursery Lennon: has a lovely bit of piano all by itself at the end. rhyme. Andy Gray big chip, and RETNA/CAMERA PRESS a Yoko Ono on his shoulder NME ORIGINALS 33 1970-1971

34 NME ORIGINALS 1970-1971

RAM Paul McCartney Apple

REVIEWED: MM, 22 May 1971, page 11 hen The Beatles were The Dear Boy Beatles Paul McCartney A bouncy catchy song for openers, and one Typical Beatles song with harmony W seemed to stand out above of the best on the album. Sounds like an backing and incessant shuffle beat. the crowd as a composer whose melodies early Beatles song, with heavy guitar. – although credited to John Lennon as well Uncle Albert/ – would be around for years. Three Legs Admiral Halsey Songs like ‘Yesterday’, ‘She’s Leaving A country sound beginning with throbbing A novelty number with various Home’ and ‘Michelle’ had the mark of . Gets heavier as it goes along and themes all mixed together. quality to make them classics in their time. a female chorus joins in. For this reason I expected his solo Smile Away albums to be better than those of his Ram On Another catchy rocker You Long three former colleagues. Unfortunately A short track, with clapping, which catches with a shuffle beat. expect too Haired Lady this is not the case. His first solo effort on after a few plays. A slow song with with the exception of one track (‘Maybe Heart Of The much from a Hawaiian guitar effects I’m Amazed’) completely lacked ‘Ram’, jam, thank Country man like Paul in the background and the McCartney magic and now his you, Macca: Paul The first children (?) joining in the second, called simply ‘Ram’, although McCartney, 1971 recognisable McCartney chorus. much better than the first, fails, in McCartney song. my opinion, to match up to those of Sweet, simple, with a Ram On () Harrison and Lennon. country and western sound. Short snatch from previous track, fades Most of the songs are simple, funky, in and fades away. rock songs with a shuffle beat which Monkberry Moon sound more like the work of Lennon Delight Back Seat of My Car than McCartney. It seems strange that An up-tempo growler with heavy Another instantly recognisable Paul the rift between the two was caused by backing and lots of chanting. McCartney melody. their different directions in music – and now both are going the same way. A good album by anybody’s standards. There are 11 tracks plus a short Another up-tempo foot-tapper, Trouble is you expect too much from a man reprise of the title track ‘Ram On’. with excellent guitar breaks. like Paul McCartney. CAMERA PRESS-LINDA McCARTNEY PRESS-LINDA CAMERA

NME ORIGINALS 35 1970-1971

36 NME ORIGINALS 1970-1971

Ringo Starr took time out from fi lming in southern Spain to give his fi rst interview in over a year to Michael Watts. He talks frankly about his fi lms, The Beatles’ split and the future of Apple

July 1971 MM, 24 , page 20

own in Almeria, southern Spain, there’s a low-roofed, whitewashed dwelling lying amid the Melody Maker: Let’s talk about your movie career. a blind man on almost every corner. dust and heat. Are you moving towards cinema, away from music? One hand clenching white sticks, the Here you are not out of place with spurs, poncho Ringo Starr: “No, I enjoy making fi lms. It’s only other holding out alms tins, they can and a Mex moustache. Here the number of half- through this one that I realise what it’s about. The sense the tourist at 20 paces. They break chewed cheroots ground beneath cowboy boots fi rst two, the Beatles fi lms, we were just there doing into impassioned harangues; the roll- equals only the amount of celluloid in the cameras. lines. We really didn’t have much of a clue.” call of the saints is read out and invoked, the hands Clint and Lee Van Cleef aren’t here for the moment, fl utter beseechingly. Just now and then you begin to but Ringo Starr is putting in an appearance and, Lee, You didn’t have much say, in fact, how those movies wonder about the eyes behind those dark glasses… you’d better watch out. This isn’t dumb, cute, comic turned out? There aren’t too many tourists yet in Almeria but Ringo. This is ornery, rattlesnake Ringo, getting “No. Everyone thought we had ad-libbed it all, but now they’ve extended the airport there soon will be, heavy and fl inging himself into a rape scene with we ad-libbed about… it was fi ve per cent at the most thousands of them, like at Malaga or Torremolinos. one of the señoritas. because we weren’t actors. At the end of the take You know, you’ll get there to fi nd your we’d carry on. It was a problem at fi rst next door neighbour already sunning because the real actors, as soon as they’d himself on the beach. done what the take was supposed to Tourists there may not yet be, but be, would stop, and we asked whether /RONALD GRANT ARCHIVE hordes of movie people there are. Oh yes. everyone would carry on just in case we The Dollar movies were made here, and got something. That was mainly where The Good, The Bad And The Ugly. Most the ad-libs were.” of the spaghetti westerns in fact. Indeed, one wonders why spaghetti and not paella. It’s a long way from A Hard Day’s Night. But then, That must have been when you got the fi rst real But the locale is just right. A kilometre or so from it’s been a long time. taste for fi lming. the town’s outskirts and you’re in movie country. Ask anyone in Almeria where Ringo is staying and “Yes, I did. I loved it. I like acting, it’s good fun. It was

ALEX BYRNE PHOTOGRAPHY/KOBALALEX BYRNE COLLECTION Stony, scrubby hills, some cacti, occasionally they’ll point to the Gran Hotel. It’s near the seafront the thrill of being on that screen, you know the 20- and all the movie people stop there. This interview foot screen or however big they are, and doing it and takes place at the hotel. It’s done in blazing heat by pretending. But until I did this one those other fi lms the side of the pool. Imagine Ringo sitting to the were – as far as I’m concerned – my part in them.” left of you at the table. Allen Klein in trunks is Ringo with co-stars Agneta lounging further to your left. He’s got a part in Like Candy? Eckemyr (left) and the movie too – he plays a Mexican bandido. “Candy was done because I hadn’t done a fi lm after Oh yeah. The movie. It’s called Blindman. A Hard Day’s Night (note: Ringo was forgetting he had made Help!) and I liked it and thought, ‘Yes, I’d like to some more,’ you know so I took Candy because it was a small part. I think I was overwhelmed because I’d be working with Burton and Brando and all those people, who knocked me out anyway. But I got no help there, you know. I mean I only was… I don’t think my particular piece was any good in it. But I’m glad I did it, and I’m glad I did The Magic Christian, which I still think… some critic wrote I was as heavy as a bucket of feathers, which was the nicest quote I’ve ever read. And it was true, you know. But because I’ve done those two I can see the difference now. In this I really feel confi dent and I have a part, and in the others I didn’t have a part, really.”

NME ORIGINALS 37 1970-1971

Why is it you think you deteriorated as musicians? Surely with most musicians if you’re on the road all the time there’s less chance of going stale? “Yes, but you must realise that when we were on the road to what people are calling on the road is now vastly different. We were playing… the smallest audience was 30,000 or something, and we have to come across all that noise. They weren’t listening properly and I didn’t want ’em to listen. But they wanna listen to Crosby, Stills & Nash, and all those people, playing nice guitar, singing songs, and they wanna appreciate them. I never really wanted to be appreciated by a crowd. If they were having a good time that was all I wanted.”

You wanted it to be a fun band rather than come out with a lot of heavy stuff.? “Yeah, right, though we did come out with a lot of heavy stuff which changed all the music scene through the years.”

On that bootleg from the In The isn’t terribly good. with Raquel Welch “No, but we had some good times. Some days (above) and and (far right) in Candy onstage, to keep us amused, I’d play some of the songs like a rumba, you know. You had to amuse yourself in the end or you’d have When we talk about your movie gone crazy.” career, are we talking about you being basically a comic actor, or taking a variety of roles? “No, we’re talking about me being an actor, not being used for the name, like I have been. It’s gonna be good because everyone who thinks of me in fi lms, thinks of Candy and Christian and this one will surprise a few people.” You haven’t felt obliged to move in this direction Why haven’t there been more Beatles bootlegs? because you thought, well, I’ve got 30 or so years to “We never actually did that much product that we A Hard Day’s Night, in fact, set people… go and I must do something. didn’t put out.” “Well, A Hard Day’s Night was the one that made “No, that’s not the reason. Music is still more me famous. Maybe that was why I suddenly thought important to me, playing drums. That is still the all- There’s not a lot of stuff left over from the sessions? I’d like to be a fi lm star, because all the critics and time fave; when you get in with a crowd of guys. The “No, there’s the Shea one, there’s a few jams, there’s everyone were saying that piece I did with the difference with movies is you’re on your own and a few of the ‘Let It Be’ album, a few tracks we never child… but they don’t know that the piece with the you do a performance; you have people around you, put out, because we decided we didn’t want that to child I went straight from the Ad Lib out of me brain but it’s still down to your performance on screen. go out to the public – it wasn’t to the standard that and really feeling down because I’d been drinking On record it’s all together, and if fi ve, ten musicians we wanted, and as musicians and performers you all night. That was a whole dialogue scene, but I was get together and get right on together, there’s no must allow us to decide what we think we should incapable of saying a line, so Dick (Lester, the director) feeling like it. If you’re not a musician you’ll never put out. That’s how it should work. It’s maybe a bit had to use me somehow and he just kept making me understand that feeling when six or however many of a drag to all those people who even if you cough walk round and look at the kid and that. So that’s individuals from all walks of life get together and all over the album they like it, you know, but it’s not a how that scene came off, and suddenly they say, ‘Oh, just get it right on. No-one says anything, everyone representation of us as artists.” you’re a fantastic actor.’” knows that it’s there. It’s just fantastic.” Who’s got all that stuff that wasn’t released? It could be that you’re a natural actor; you don’t Why haven’t you played in public since The Beatles “It’s around. Apple’s got most of it, Apple and EMI. have to force it. split? You could’ve been a member of the Plastic They can’t release it unless we say. They can’t just “Well, that’s what they said. I mean, I can do the Ono Band, surely, instead of , when shove it out. They could’ve done it if we were Harry walks, the funny looks. To make you laugh is not they did Toronto? & The Peglegs, but we have quite a lot of say in what hard for me on fi lm. I can pull faces and limp a bit.” “Well, I played on one of their singles, ‘Cold Turkey’.” goes out in our name. In fact, we have all the say.”

Would you say you were in movies because there’s But you didn’t actually go out in public. How much stuff would you say there was? How no other way you can express yourself enough now, “No. Well, after that I thought, ‘I don’t wanna go many tracks? Fifty, or less? particularly in music? out.’ I think it was mainly because… it wasn’t just “No, no, nowhere near that. I mean, once you’ve SS “No, not now. I was just the one who fancied movies. because The Beatles split, but when we stopped I’d cancelled out the Shea, and there were a few other I mean, suddenly I was in a position where I could do had enough, and I thought it would be the same, ’cos tours that were recorded – the live stuff would do things that if I’d stayed as an engineer I’d never have the it ended up not very good. None of us were playing at about three albums, I think – the actual tracks we chance, but suddenly you’re famous and The Beatles the end of those tours. It’s one of the reasons we gave did in the studio, the songs and jams I’d say there’d and people’ll let you do anything. That was what was up. I mean, I couldn’t play on those tours. I thought be about 20 or 30 tracks at the most. Out of the nice about it, because you were aloud to do things. we all deteriorated as musicians. It was only when we whole career, yeah. There’s not that much. We put Because, suddenly you’re in a famous group you must got in to the studio and worked for six months on the everything out because we always worked like a

be able to do everything, let ’em have a try.” albums that we learned how to play again. dog to get everything right. I mean, there are great BETTMANN/CORBIS/REX FEATURES/CAMERA PRE

38 NME ORIGINALS 1970-1971 rumours about there’s enough material for another 25 years and all that. But you mustn’t believe all that rubbish. It’s like when you believe that Klaus (Voormann, Plastic Ono Band bassist) is gonna be BEAUCOUPS OF BLUES the fourth Beatle. The Beatles is the most impossible Apple group to change the line-up. They’re the only group Ringo Starr in the world that’re individually known. Name me REVIEWED: MM, 3 October 1970, page 18 one group where everyone is known individually.” can imagine this album velvet-toned balladeer, but being greeted with snorts of here his performances have The Stones maybe? I derision in “aware” circles, conviction and charm which “Not really, once you get past Mick and Keith a lot who will remember the Ringo of excuse the surprisingly rare of people know Charlie and Bill, but ‘Sentimental Journey’ and “Thaar flat note and the occasional nobody knows. They used to know Brian a bit, gonna put me in th’ mooovies”. amusing Scouse inflection. I think, but it’s mainly Mick and Keith. I wouldn’t be In fact, listened to honestly, Much of the credit must go interested in being The Beatles with someone else; ‘Beaucoups Of Blues’ forces one to Peter and Chuck it’s not The Beatles. I’ll be in a group with John and to abdicate from any hip posture Howard, who together George and Klaus and call it The Ladders, but I don’t and admit, just this once, to sheer masterminded the think it would be The Beatles.” uncomplicated enjoyment. Alright, sessions, producing some Ringo isn’t the world’s greatest of the most enjoyable Is there any chance of that happening? backdrops I’ve heard in “Not yet. Well, it’s a joke, we keep having a long while. Three laughs about it. It’s not true. I haven’t thought tracks at least Ringo of it seriously, anyway.” stand out: knockout Nashville ‘Without Her’, isn’t the world’s guitar from Jerry What about John and George? which is simply greatest balladeer Reed. The back- “What about them?” an incredibly but he has up playing is as beautiful song magnificent as Do they take it seriously? and would conviction and one would expect, “I don’t know. I wouldn’t think so. Ask them.” make a world- charm and glints of Charlie wide smash single McCoy’s harmonica Was there ever a leader of The Beatles? because it has the and ’ vocals “No, usually one guy instigated it and then the breadth to appeal to everyone; peep through frequently. One can rest went on their own. We all did one bit to fi ll the wistful ‘Woman Of The Night’, imagine thinking that Ringo had a it out. It’s like someone would come up with which has a particularly attractive ball making this album. I had a ball an empty bag and we’d all dive in and fi ll it.” chorus; and ‘$15 Draw’, with listening to it. Richard Williams Country boy: I got the impression that after Brain Epstein Ringo in 1970 died Paul assumed the leadership. “Yes, he did. I keep saying that and he keeps Don’t you agree that it was rather masochistic? You get on OK now don’t you? denying it, but I think that. That’s the way I feel about “Well, he was going through a scene, you know. He’d “It got better after the case. We phoned each other it. It was a strange sort of a time for us, you know, been through that primal scream thing and he was and talked a bit.” when it’s someone you’ve relied on in the business coming back and telling you what he’d been through. where we never got involved. We were just musicians There’s no real toetappers on it. ‘Working Class Hero’ I get the impression, though, there was maybe one doing our thing, and Brian looked after everything.” is an all-time great. They get hung up on the word time when it would’ve come to blows? ‘fuck’, the BBC and all those, and that’s what’s the “No. It would never come to blows.” What would’ve happened if Epstein hadn’t died? drag for me. You can sit with some people and they Would you still be together? swear and you think, ‘Christ, stop it!’ and you can sit What about the story that John and George sent “Yeah, I think so. We were going into the studios and with people who swear because it’s a word and they you round to Paul’s to ask if he’d hold the release of really getting away from Brian because he couldn’t just use it, and that’s how it was on the album – it his album so it wouldn’t interfere with ‘Let It Be’? organise tours and things like that. He still would’ve wasn’t for effect, it was important to the concept. “They didn’t send me round, it’s a misquote. They, been with us, but we were then just slipping into the as directors of that company, wrote a letter to him studios, where he couldn’t really get involved, so What about ‘All Things Must Pass’? and I didn’t think it fair that some offi ce lad should I don’t know what would’ve happened.” “Well, George’s is sensational. There are so many take something like that around. But he got angry because we were asking him to hold Do you think if he hadn’t died his album back and the album was the four Beatles would have kept very important to him. He told me to together or at least been prevented get out of his house. He went crazy.” from splitting do quickly? “No, I couldn’t answer that. It’s So it’s not true that he physically impossible. It’s like saying, ‘What attacked you? would you have done if you hadn’t “No, he shouted and pointed at me.” joined The Beatles? What would you be doing now?’ great tracks on it, good tracks, and so much work. I dunno. Working in a factory somewhere, or playing You can feel everything about the album. He paid his Do you think it was inevitable that The Beatles in some little club. I’ve no idea. You’re just surmising.” dues on that album.” split up? “No. It only got to break up when we all decided, What did you think of John’s last album? What about Paul’s albums? ‘Let’s do other things than The Beatles.’ But I really “Some of the tracks are just incredible. The only “I feel sad with Paul’s albums because I believe he’s would’ve liked to do individual things and Beatles thing… it’s very personal. That’s why I didn’t think a great artist, incredibly creative, incredibly clever, things. The Beatles, we were a great group. We were it did as well as it should have done. What he was and he disappoints me on his albums. I don’t think a good group, man, and there was a lot of good ideas saying was very personal to himself. there’s one tune on ‘Ram’.” and a lot of good music came out of them.”

NME ORIGINALS 39 All white on the night: George onstage at Madison Square Garden

George creates greatest rock spectacle of decade

endured by the Pakistan refugees was shown on two Nancy Lewis phones in from New York after giant screens, accompanied by the Harrison single, witnessing the concert for Bangla Desh at ‘Bangla Desh’. Shortly after the fi lm ended , the stage was lit August 1971, Madison Square Garden NME, 7 page 17 again and everyone waited with eager anticipation to see who would emerge. Then, with no further ne of the most exciting events of rock covered with an oriental rug. The sitar master was hoopla, they appeared – what must be the ultimate history took place Sunday – George accompanied by two men and one lady in a sari. supergroup of all time. On drums we had Ringo Harrison And Friends at Madison The scent of much incense fi lled the air as Ravi Starr and , Klaus Voormann was on O Square Garden. It really was the super played two numbers and the audience gave due bass, Billy Preston was at the organ, Jesse Davis, Eric show to outdo all others and George proved that respect to this quieter portion of the programme Clapton and George Harrison were on lead guitars, he is totally together as a stage performer. It was which ran about half an hour. three Badfi nger members were on acoustic guitars. unbelievably fantastic! After this the house was completely darkened. There was a six-piece under , There were two concerts – one in the evening and While many members of the crew started and fi nally there was a chorus of eight standing at the one at night. The shows were really alike with only reorganising the stage, a fi lm showing the horrors back, some of whom looked familiar as faces from the running order of numbers changed. It was the Mad Dogs & Englishmen entourage. such a short time to get things together, I was Harrison, by this time, had changed into a amazed to see such an organised programme. striking white suit with a rusty orange shirt It could not be faulted. looking very much in command. The show started only a couple of minutes The set opened instantly with a full version of late, and the audience of 20,000 plus burst ‘Wah Wah’. Before the applause had a chance to into thunderous applause as the house lights die down, George picked up an acoustic guitar dimmed and George Harrison walked and the group went into ‘My Sweet Lord’, followed onstage, dressed in brown denims and shirt. by another Harrison number, ‘Hear Me Lord’. George thanked everyone for coming and Billy Preston took over the lead singing next with a explained the show was divided into two rousing version of ‘That’s The Way God Planned It’ sections. The fi rst part was to feature the and for the fi nal chorus of the song Billy left his seat music of . Then Ravi came at the organ and started walking across the front of out and sat on a raised platform which was Sitar man: the stage which really brought on the cheers. Ravi Shankar

40 NME ORIGINALS 1970-1971

Then the group began the opening for ‘It Don’t Come Easy’, with Ringo handling the solo lead from A SECOND OPINION his spot at the drums. Next song was ‘Beware Of Darkness’ with George and sharing lead eorge Harrison at Madison There was $250,000 in the box office of Apple, picked up the tab personally vocals followed by ‘While My Guitar Gently Weeps’. GSquare Garden on Sunday had – and nobody touched a penny. Every on the hall. Leon Russell took the spotlight next for a wild version put the seal on that which Muhammad red cent was on a cheque from the Ravi Shankar, who had originally of ‘Jumpin’ Jack Flash’. Ali could not prove – that a hero of the Madison Square Garden management interested George in the venture, The band left the stage, leaving only George and ’60s can reappear and conquer. George direct to UNICEF to use for the kids of proved why he is India’s greatest one Badfi nger member onstage, with acoustic was a knock-out! Bangla Desh. classical sitar player. A Bengali guitars, singing ‘Here Comes The Sun’. Though Twenty thousand people, twice The overheads? It himself, he had persuaded I thought they had left the stage, out of the dark, over, stood cheered the greatest pop cost over $100,000 to George to ask friends chanting voices joined in with George. concert in two decades. Great, if one put on the show It was to play the concerts Though there had been plenty of rumours about it, takes the meaning to be fine music. in expenses. as a benefit for his the audience still went absolutely mad when George It was George’s day. He had And Allen Klein, George’s day. homeland. brought on “an old friend of ours”, Bob Dylan. arranged it – he had worried about president of He arranged it, It was George It is the fi rst time Dylan has appeared anywhere it. He cared tremendously about the ABKCO Industries he cared about who got in touch since the Isle Of Wight two years ago and the purpose – that all the money went to Inc and the with Dylan; it was response he drew was absolutely overwhelming. the aid of the children who were the business manager the purpose George who invited When he hit the fi rst chorus on his acoustic guitar victims of the Bangla Desh tragedy. the fabulous line-up the audience respectfully to appear. And one has quietened down. I’d play for you Ringo’s authority for saying so anytime: George After ‘A Hard Rain’s and Bob Dylan because they were in constant touch A-Gonna Fall’, he was by telephone arranging this while joined by George on George was in Los Angeles and Ringo guitar, Leon on bass and was filming in Spain. Ringo on tambourine Dylan’s contribution was and another Dylan tremendous – the audience stood and number I couldn’t applauded for a full three minutes identify followed, and without sitting down. The big band then he went into two played on. And the audience stood as of his classics, ‘Blowin’ George concluded with ‘Bangla Desh’. In The Wind’ and ‘Mr It’s a lovely number – and Tambourine Man’. Madison Square Garden on Sunday Dylan’s closing song was was a lovely, peaceful place in spite ‘Just Like A Woman’, of 2,000 people outside who tried to on which George and break down police barriers to get in. Leon came to the mic The authorities inside said it was to join in for the chorus. the best organised concert they had Smiling and waving ever had. Les Perrin Dylan then left the stage to the accompaniment of a gigantic standing ovation. The whole original entourage then returned were only incidental compared to the good that was to the stage, and George took time out to introduce accomplished. them individually, after which he went into To me this concert really proved what can be ‘Something’. At the end of the song, George left attained when top musicians get together for a cause. the stage, followed by everyone else. After much Musically it was simply brilliant! George is unquestionably stamping, cheering and applauding, however, the All of the musicians involved seemed to enjoy a very sincere and band returned. George again thanked everyone for themselves greatly and the music they were dedicated young man, coming and made a request that when they were producing that evening amplifi ed this. The audience and one can immediately ready to leave, everyone please leave quietly as there was very, very enthusiastic – but they actually listened detect the despair and has been some to the performance pity in his voice as he trouble outside. and only burst sings of the appalling After this he This concert proved what out into applause plight of the East broke into the between numbers. Pakistanis. Whether his song written can be attained when Whoever motive was to bring the tragedy to our attention, or merely specially for the engineered the to get it off his chest, I’m not quite sure – but his lyric is tragic situation he musicians get together sound should also bound to cause some heart-searching. has tried to help, receive high marks, As it develops, brass and woodwind make their presence ‘Bangla Desh’. Then he exited again and the concert as it was without a doubt the best sound I have ever felt, and the routine builds to a jazz-orientated crescendo. had clearly come to an end. heard in Madison Square Garden. I was in the third Not so strong melodically as ‘My Sweet Lord’, but still Not only has George succeeded in gathering row of the and not at all deafened, and yet nagging and insistent. The swinging scoring does tend to together one of the most impressive supergroups everyone throughout the vast theatre got the sound. detract somewhat from George’s message, but certainly for a concert but he has been solely instrumental in George has stepped into his role of an up-front increases its commerciality. Obviously a hit, but it seems bringing the plight of the Pakistan refugees into the leader with great ease and style, and it is a role incongruous that the troubles of Bangla Desh will keep the eye of the public. Proceeds from the concert, and the I believe we may see George in more often. youngsters dancing happily in the discotheques! promised album and fi lm of the event, should bring In the meantime, thank you George Harrison for Opens almost like a sermon, then the beat comes in and his fi nal contributions into the millions of dollars. one of the outstanding evenings in rock history – and the tempo quickens, as George wails fervently to a backing It is unfortunate that the evening was marred by thank you for being a person who is really involved of a solid and handclaps.

CORBIS/GETTY IMAGES-TIME LIFE mobs outside trying to gatecrash, but the problems with contributing to a very worthy cause. Derek Johnson NME, 7 August 1971, page 8

NME ORIGINALS 41 1970-1971

July 197 NME, 31 1, page 3

As John and Yoko publicise the launch of her paperback, the former Beatle tells Alan Smith his next album is the greatest

he Lennons have been Does it needle you, deep down, or maybe only holding court this week, about so far? unashamedly plugging Yoko’s “Only so far. I tell you, it’s like Monopoly, only new paperback with real money. And it’s costing us a fortune, so from the fine but homely the sooner it’s over the better.” splendour of their white Georgian residence near Ascot. Macrobiotics About your comments on Parkinson, on the out of the window, Lennon himself drinks possibility of making up with Paul… a beverage called Dr Pepper (with sodium “Yeah. We were great on that show. It’s like they benzoate) and we sit and talk at the low pine said, ‘Isn’t that old John we used to love?’ I said, table in a quarry-tiled kitchen that’s all sunshine ‘It is.’ I said, ‘It is!’” and stainless steel. Ordered chaos prevails and there’s a film team (“been here a month, going So how about the possibility of back to sanity”) and a photographer from reconciliation with Paul? a straight daily. Yoko comes into the room with Paperback writers: John and “I was asked the usual thing on the black hotpants and a deep cleavage. “Now,” Yoko publicise show about Paul, and I said that says the photographer, “I wonder if I could have Grapefruit, 1971 maybe about a year or two after a picture of you cooking?” all the money thing’s settled, we “Cooking?!” explodes Lennon, “in an outfi t like How about the Bangla Desh concert might have dinner or forget about that? You must be effi n’ crackers!” in the States? it, y’know. We might even celebrate His own recording studio is behind the kitchen “That’s George, but I won’t be there getting it all over with. I don’t know. (“it’s better than EMI’s, because I’ve got newer because we have to go to the Virgin I can’t tell. And there’s no possibility equipment”) and in there I listen to his new album Islands to go to court about Kyoko, at all, ’til it’s settled.” for autumn release. There is whatsoever, it’s and then I have to go to Texas about it the best thing he’s ever done. it – he knows it. too – ’cos Tony’s suing us from Texas or somethin’. If I’d like to talk to Yoko about her book. “Isn’t it great? This’ll show ’em, the bastards.” we got the kid back we might do it. But otherwise… “She’ll be back in a minute and she won’t let you talk The thing with the new album is that he’s hit a “Is that today’s paper? What’s in it? ‘Paul And about anything else.” medium line between the need to bare his soul Wife… Sued’. Oh that, that’s been goin’ on for years. and the need to make good music. It’s not only “You see, what Paul’s mistake here was, he tried Is Yoko a withdrawn woman… or shy? worthwhile, it’s more than usually commercial. And to take it all for ‘Another Day’. Now, I wrote ‘God “Oh shy, sure. She won’t ever say anything, unless as for side one, track one, a gently felt journey into his Save Us’ with Yoko, and ‘Do The Oz’ and there’s one you actually ask her. Although she might do now, imagination… tremendous. track on the album she wrote. She had written other because we’re really on the push for Grapefruit. It’s a nice day that day, and Lennon is in fi ne form; things, even ‘Julia’, back in the Beatles days. We’ve really been selling it. We’ve done appearances hair cropped, face fresh. “What we did was, we just called , and in Selfridges, the Claude Gill bookshop, interviews they know she writes music, and we said, ‘Look, every day. We’re really trying to sell it. NME: What happens when you’ve fi nished the we’ve done it, so what do you want to do about it?’ “Yoko’s like me. All extroverts are shy. I’m shy, promotion of Grapefruit? And he said, ‘Well, let’s split it’, so we just split it. Ono unless I know somebody. And then I’m a bighead.” John Lennon: “When that’s over Yoko’s having an Music and . off-Broadway play in New York. It’s based on the “The thing with Paul is, he wants all the action. He YOKO BURSTS IN at this moment, happy, warm, ES book, and it’s called Of A Grapefruit In A World wants it all. It’s not just the money. It’s the principle, eyes afi re. “It’s so beautiful, because Mimi’s coming Apart. She did it ten years ago at Carnegie, and now I think, for instance, that Paul’s cost us probably around and we’re really going to be friends and she’s sort of pepping it up. a million since he started this thing. And his tax I thought I’d invite her here and to stay and meet my “There might be an off-Broadway play of my book, counsel’s just come up and given us exactly the tax mother and father and it’ll be really great.” but I’ve got to read the script and I fi nd it very hard to advice we gave him two years ago, to tell him exactly This understandable fl ood of pleasure stemmed say yes or no to the people who’re going to do it. I’ve not to do all what he’s done. So it’s cost us quite from the possibility of a coming together between

been carrying it around for months.” a bit… trying to see it his way.” Yoko and Aunt Mimi – the Aunt Mimi – but HANLEY-REDFERNS/HUTTON-GETTYTOM IMAG

42 NME ORIGINALS 1970-1971

Yoko and John at home in Tittenhurst Park, Ascot, 1971

NME ORIGINALS 43 1970-1971 “Imagine there’s no stainless steel hobs…”: the Lennons at home Lennon was strangely ill at ease with such raw emotion. Yoko told how Mimi had seen them both on TV, and there was now acceptance again. “John is now looking like what I used to like.”

How did the Primal Scream therapy affect your marriage? John: “Yes, there was a great strain on it, but it brought us closer together in the end. OK Yoko, now come and get on with yer plugging.” Yoko Ono: “If we can get Mimi and everybody here together, it will be some dream. I’m going to send her a really nice copy of my book.

Yoko, in Grapefruit you give instructions to readers to burn the book once it’s fi nished with. Is that serious? Yoko: “Oh, yes. If you go back on the things in it all the time, then you always have to rely on the book. But once you’ve read it, you know, it’s here in your head. This book is really just to give a frame of mind. Anybody can get anything then it wouldn’t have been The Beatles… because “Something funny happened the other day. I out of it, without special skill. I would have had fi nal say. There would have been no went into Apple and they said, ‘ you look like a “It was like The Beatles being famous. They had decision making by George and Ringo, other than if Beatle again.’ And do you know something? Just for a frame of mind to be famous. And they were famous.” I liked the idea I’d take it. Which is what happened in a second, I’d forgotten what a Beatle was. Really. The Beatles – but then it was a bit more diplomatic. “It was ’cos I’d just got back from New York, and Yoko’s art seems to me to exclude I hadn’t been a Beatle at all. It’d appreciation of the more established just been me and Yoko, and we’d works of art, the Mona Lisa and so on. been doing all sorts of things.” Yoko: “I’m not somebody who wants to burn the Mona Lisa. That’s the great Do either of you now feel any difference between some revolutionaries pain of any kind, any problems, and me. I’m saying make the Mona Lisa either mental or physical. Or are into something like a shirt. Change the value of it.” “So yes, that’s quite possible about The Beatles as a you totally cleansed of any hang-ups? John: “Yoko feels that any woman can create, working unit… because I might play on George’s and John: “Oh no. I just know myself better, that’s all, a man destroys and an artist revalues. An artist Ringo’s, if they wanted my style of playing! so I can handle myself better. That Janov thing, the doesn’t create because everything’s already here. “But imagine how we’ve fl owered since then. Primal Scream and so on, it does affect you because A scientist doesn’t create, he discovers.” George is suddenly the biggest you recognise yourself in there. Yoko: “It was like those four boys got together to seller of all of us. I think my The difference between us and make The Beatles, and without kidding anybody music’s improved a million-fold, Janov, as Yoko puts it, is that the they changed the world. And that’s beautiful. That’s lyric-wise and everything. And past we remember is the past all I’m trying to do. Ringo’s coming out and writing we create now, because of the “The only thing with The Beatles was that they ‘It Don’t Come Easy’, and now necessity of the present.” changed it, and then they stopped there. They weren’t he’s gonna write the title song for going on being revolutionaries. Tell him, John, about this cowboy thing he’s in. Tell me about your philosophy that Japanese temple…” “The fact is, The Beatles have of life. Many of your comments John: “Yeah, well there was this Japanese monk, left school… and we have to get have been construed as extreme and it happened in the last 20 years. He was in love a job. And that’s made us really left wing or Communist. with this big golden temple, y’know, he really dug it, work harder. I think we’re much John: “They knock me for saying like. And you know he was so in love with it, he burnt better than we ever where when ‘Power To The People’, and say that it down so that it would never deteriorate. we were together. no one section should have power. “That’s what I did with The Beatles. I never wanted “Look at us today. I’d sooner Crap. The people aren’t a section. them to be has-beens or the Crazy Gang. It was like have ‘Ram’, ‘Plastic Ono Band’, The people means everyone. they were dragging them out of their deathbeds to George’s album and Ringo’s “I think that everybody should give a laff… I wanted to kill it while it was on top. single and his movies than ‘Let It own everything equally and that “Remember, I did say ten years ago, ‘I’m not Be’ or ‘Abbey Road’.” the people should own part of going to be singing ‘’ at 30.’ Although Yoko: “If the four of them had the factories and they should I expressed it that way I really meant that, by 30, gone on, then they would have have some say in who is the boss I would have woken up a bit, or changed my sights.” suffocated each other.” and who does what. “It might be like communism, Isn’t there room today for The Beatles as a living Do you resent journalists but I don’t really know what real band? You’re surely now all far more aware as talking about the past? communism is. There is no real people. Is the diffi culty that you’re all too egocentric John: “No, I don’t resent it: I’m communist state in the world, to be able to work together fully, even if you tried? always doing it myself. Maybe I’ll you must realise that. Russia isn’t. John: “We always were egocentric. But look, George meet you or Ray Connolly and It’s a fascist state. The socialism is on my new album. The only reason Ringo wasn’t I’ll say, ‘Hey, d’you remember I talk about is a British socialism. on it was because he was abroad, making his movie. when we did that, or this?’ It’s We’d have a nice socialism here. So then the three of us would have been on, but only human. A British socialism.”

44 NME ORIGINALS 1970-1971

Shouldn’t “the people” own part of Apple then? Shouldn’t the employees have a slice of the profi ts? John: “They would. In socialist Britain, I’m not sure IMAGINE how something like a record company would be run,

but they would certainly have a piece. The thing at Apple the moment is, it’s not mine. What do you think this John Lennon REVIEWED: NME, 11 September 1971, page 10 whole thing is that’s goin’ on? If I had my way, it would be different altogether. If the workers ever took it over, opies of the upcoming This is a slow, delicate they could have it. I said that years ago.” Lennon album ‘Imagine’ and searching piece C are in circulation, but in which Lennon, Don’t you both spend a great deal of time fi lming rarely can the GPO have delivered underscored by a quietly yourselves and having yourselves fi lmed? such a fine gift this side of rumbling piano and John: “Why not? It’s home movies. And the ultimate Christmas. I had first heard the drifting strings, asks us movie is a home movie. Jean-Luc Godard is making tracks courtesy of the Lennons all to picture a world 8mm fi lms. Home movies is where it’s at. Poetry’s done during a visit to discuss Grapefruit, without war and misery at home. Why shouldn’t movies be the same way?” but it was no more than one and hunger. ”You may Yoko: “If we were putting ourselves in fi lms all the hearing and I took it upon myself say that I’m a dreamer”, time, so what? We do not pretend.” to leave the tape recorder on the he sings, ”but I’m not the only one”. then evolving into a long Lennon kitchen table for fear of being The second track on side one is statement of the things and the Are you now even remotely interested in singles or considered the next bootleg king. ‘’, a singalong hunky values he’s come to reject – a chart success? Like, I don’t do no rip-offs, man. chunky uptempo honky-tonk piece device you may recall from the last John: “Yeah! Sure! I get all the musical papers and the The album is superb. Beautiful. with Lennon in raucous voice and album. In this he talks of earning daily papers. I get my world chart thing and Billboard One step away from the chill of his generally spirited style. money for rope, money for dope, and the other one, Cashbox, and I mark off all the recent total self-revelation, and yet Number three, ‘’, runs and say’s he’s sick and tired of Apple records including Paul, all around the world. a giant leap towards commerciality for four minutes eight seconds, “neurotic… psychotic”. “I tell you, The Beatles are blasting the world up. without compromise. The songs and it’s another quiet floater in ‘’ is the next song and, We’ve got records everywhere… and two or three in have structure, direction and which Lennon sings a solitary and following the careful programme every chart. It’s fantastic. George, Ringo, Paul and me melody; guts, sensitivity and class. undisputedly moving apology of evident on the rest of the album, are in every chart in the world. It’s great. Let me put it this way: listening love. It’s got whistling strings and it’s a low-key piece with the odd “I get a kick out of it both because I’m getting to this LP is like hearing McCartney understated bass and drums, and tap of a triangle, nocturnal piano, through to all those people, and because I’m doing it ballads, and McCartney rockers, the there’s a beautiful frailty from start and Lennon singing that “for the on my own or with Yoko. It’s all that. And I like singles way McCartney should be doing to finish. first time , I can see”. Like and not LPs, really, because I like the idea of saying them. It’s like Lennon showing ‘It’s So Hard’ is a blues cut with so much else on this album the everything in three minutes.” McCartney how to a Sun feel until we get melody is superbly memorable. tighten up the flab to a fascinating The longest track on side two Did you listen to ‘Ram’? in his music, background is ‘How Do You Sleep?’ and it is John: “Yes, of course I did. A couple of times. The fi rst and its worth, with strings unquestionably an open letter time I heard it I thought, ‘Fucking hell, it’s awful.’ And without the There are reminiscent to McCartney. Musically it’s then, ahem, the second time I fi xed the record player necessity no duds on this of some tremendous but this is a song a bit, and it sounded better. for a Primal old which will be remembered more for “I enjoyed a couple, like a little bit of ‘My Dog It’s Scream. And ‘Imagine’ album. Hollywood its lyrics for a long time to come. Got Three Legs’ or something, and the intro to ‘Ram Lennon, movie “So ‘Sgt Pepper’ took you by On’ and the intro to ‘Uncle Albert’. I can’t stand the who can Lennon rides set in the surprise”, calls Lennon, ”those freaks second track from the… I mean, well, that doesn’t occasionally high! Orient. was right when they said you were matter anyway. be aggressively Last track dead”, then continues,”the one “You know, I think the other album he did was misguided, to on this first side mistake you made was in your head”. better in a way. At least there were some songs on it. put it at its mildest, is is no less than six Or then how about ”You live with “I don’t like this dribblin’ pop opera jazz, y’know. absolutely right when he calls minutes six seconds long, straights who’ll tell you you were a I like pop records that are pop records. I know you yourself it “the best thing I’ve ever done”. and it’s ‘I Don’t Wanna Be A Soldier king… The only thing you done was didn’t like it. I was surprised when I saw that bit…” Really I believe that ‘Imagine’ Mama’. I was reminded of an evil yesterday/Since you’re gone you’re could become a kind of musical swamp sound recorded in a church just another day”? I didn’t like the last Beatles album either. I thought meeting point between the hall, but figure that one out when In the following lines he makes the whole thing came over as some kind of cardboard whistling butcher’s boy vs the you hear it. the point that ”A pretty face may epitaph… lots of cardboard, not much music. musically aware… and never more Side two opens with a 2001 last a year or two/But pretty soon Yoko: “I think you were right, probably.” than in the title track. touch in ‘’, but they’ll see what you can do”. Then John: “Except for ‘’!” it comes: ”The sound you make is muzak to my ears/You must have And the bootleg tape… John at the learned something in all those controls in his John: “Ah, you’ve got that. So you see what home studio, years”. Spector did don’tcha? I’m glad the bootleg is Ascot, 1971 There are two other strong songs: going about, because it shows that Paul was the emotive and tender ‘How?’ wrong when he was putting down Spector.” and the closer ‘Oh Yoko!’, which is a strident belter with harmonica and Is there a song on your new album which Lennon fooling from one speaker refers to Paul… lines about a “pretty face” to the other before it fades away. and the sound of “muzak”? There are no duds on this John: “(Smiling) Er, there’s a song that could ‘Imagine’ album. Lennon rides well be a statement about Paul. It could be high! Alan Smith interpreted that way. But then it could be about

TOM HANLEY-REDFERNS TOM an old chick I’d known… or somethin’!”

NME ORIGINALS 45 1970-1971

p to the latter quarter George Harrison describes his A large sum of money was raised of 1970, George at the concert and a good deal more Harrison was the struggle to help the refugees in will be raised in record royalities (an mystery man of The Asia – and toasts his new studio estimated $18,000,000 if the album U Beatles. The lead sells a million throughout the world) guitarist who didn’t write… except and George has other fi ngers in the 6 October 1971 for the occasional album track. NME, 1 , page 6 pie to raise yet more money. The Beatle who’d probed more “I’m asking EMI to reduce the deeply into Indian mysticism and surrounded by journalists, all 100,000 albums but, if the price were price of the album even more and, culture than the other three, the one forgetting the purpose of their visit. reduced, we’d probably sell more at the moment, I’m editing the fi lm who introduced the others to the George is dressed casually, his like half a million and, as the profi t of the concert with Bob and that teachings of the Maharishi Mahesh beard hanging in straggly streaks remains constant, that’s a lot more will be sold to television companies and the man who popularised across his shirt and his amazingly money for the relief and refugees. throughout the world. Whichever the sitar as a rock instrument when penetrating eyes taking in “It’s with this in mind that I went one in any particular country that his beautiful ‘Within You, Without everything that surrounds him. to see Patrick Jenkin. He’s the Chief makes the highest bid.” You’ appeared on ‘Sgt Pepper’. The ‘Bangla Desh’ album tape is Financial Under-Secretary to the With $250,000 from the Madison During the slow, almost agonising playing very loudly over the studio Chancellor Of The Exchequer and Square Garden concert and a period of accusation and denial speakers and George is explaining I asked if it would be possible to potential of £18,000,000 from the which heralded the parting of The his current campaign to try and get reduce, or even scrub completely, the record and more from the fi lm, Beatles, George produced two solo the forthcoming three-album set purchase tax on the record. the fund is swelling to enormous albums, ‘Wonderwall Music’ and released at the minimum price. “Unfortunately, he seemed to proportions. How did George think ‘Electronic Sound’, both of which “There was a little trouble with think that it was more important for the money would be used? passed off without too much notice Bob’s (Dylan) contribution because this country to get the tax than for “What we’ll probably do is to set being taken of them by a press that at fi rst, it looked as if his record extra money to go to the starving up a fund which will then distribute was far too concerned with the company wouldn’t allow us (Apple) kids in Bangla Desh and, I’m afraid, the money for the best purposes.” daily “happenings” of John, Yoko, to release his part on the record he refused. With Bangla Desh involving him McCartney and Klein. so heavily I wondered whether Beatles song publisher Dick George was conscious of the James didn’t even bother to need to make money for himself. sign George up to a songwriting “I certainly need to,” was the reply. contract when he sealed the fate “Everybody has to work for a living. of the Lennon/McCartney duo. “There’s a possibility that I’ll do But the strong infl uences other concerts and I’ll continue that had been brought to bear to record but, at the moment, I’m on George during his quiet fully occupied with working out “background” period with the the details of the Bangla Desh thing other three had started to gel which are all in my head.” into what was to prove to be a We returned to the subject for phenomenal songwriting talent which we’d all gathered, the half- and, during the latter half of 1970, million pound studio that Apple he was found to be working away have been building for two years. on his fi rst real solo album. As I walked in, an Apple executive When this was eventually remarked, with a note of sadness George with released, George Harrison finally of in his voice, that the studio was received the acclaim from the media Badfi nger, Apple constructed because “The Beatles that he’d deserved for so long. Studios, 1971 said we want the fi nest studio He also received his fair share of in the world for us to record in. trouble… first from the “I even threatened to leave the It’s only a shame that they’re not of the together now to use it”. winner ‘Congratulations’, who country… The Beatles earned I asked George if he’d still be claimed against a spoof version of the using it. “It is a bit sad that we’re not song that appears on ‘All Things Must a lot for the government” together to use it but I’ll still be using Pass’, and then, more seriously, a court it and, don’t forget, the Apple label action was started by the composers but that, along with all the other “I even threatened to leave the still has other artists who’ll defi nitely of the old Chiffons hit ‘He’s So Fine’, contributions, has been resolved country and go and live abroad… use it and it’ll be available for outside who claimed that George’s worldwide now, everybody’s given up their you know, The Beatles used to earn people to use, like the Stones.” hit from the album, ‘My Sweet royalties – I’ve even persuaded EMI a lot of revenue for the government The Beatles may not be around any Lord’, bore more than just a slight to manufacture the album for cost. but now, as individuals, the amount more but the “Apple scruffs” whom resemblance to their song. That court “It’ll be a three-album set edited that we get them in taxes and foreign George immortalised on ‘All Things action is still pending. from the best parts of the concert earnings must be considerably more.” Must Pass’ are still around in force. George’s follow-up to ‘My Sweet and, if everybody contributes what George also said that he’s agreed I had to push my way through a A Lord’ was ‘Bangla Desh’ and it was they’ve said, it means that we’ll not to make public the facts of that crowd of them as I left the studio principally about this subject that we be able to sell the album for a lot meeting but that he’d decided to and, as I wandered along Savile Row, talked when we met at the party held less than we normally would and, tell everybody because he was really I wondered whether the refugees of in London’s Savile Row to celebrate hopefully, sell a lot more albums. disappointed. “They seemed to Bangla Desh would ever realise that the opening of Apple’s plush new “I don’t want to ask people to pay think that I was asking too much, the new future that they’re facing basement studios. over £6 for the set and I don’t want but I don’t think that anything is is a result of what was happening

George was the only ex-Beatle to make any money for myself out too much when you’re trying to help in a Liverpool cellar almost nine HEILEMANN/RETN PRESS-WOLFGANG CAMERA present and, as such, was quickly of it. At that price we’d probably sell millions of starving people.” years ago. John Halsall

46 NME ORIGINALS

1970-1971

November 1971, p MM, 6 age 26

Richard Williams reports from New York on the birth of the new Plastic Ono Band, and its fi rst recording: a special Christmas single with Phil Spector at the controls

p on the 17th fl oor of the St Regis Hotel breathed, “Yoko, that’s . Without him…” The nucleus will ensure that they don’t have to jam in New York City, John Lennon is Whether it’s true or merely apocryphal, it illustrates all night on old 12-bars. learning to type. one of John’s most endearing characteristics: John wants to make the whole thing into a travelling PIMP, he types. I AM A PIMP. “It’s he remembers. circus, sending Yippie leader ahead great,” he says, “Yoko’s teaching me.” Back in the bedroom, John’s talking about the of the troupe to round up local bands and street John is in his bedroom, surrounded Plastic Ono Band, and his plans for going on the theatre groups in whatever cities they’re playing. As by the detritus of creation: guitars, books, notepads, road early in 1972. “I’ve got lots to learn,” he sighs. an illustration of the kind of people they want. John nylon-tipped pens and a box full of Elvis singles. “Its been seven years, you know… but it’s important mentioned & The in New “I asked someone to get all his old singles for me,” he to get the band on the road, to get tight. It’s been York and the Pink Fairies in London. says, down on his hands and knees, opening the box fun just turning up at odd gigs like Toronto and He gets to talking about his songs, and how he and spilling the bright red RCA labels over the fl oor. the Lyceum and the Fillmore, but I’m sick of having pinches bits from his favourite rock’n’roll numbers. The next ten minutes are spent sorting them out. to sing ‘’ because we haven’t There’s a new one about and , ‘My Baby Left Me’, ‘Hound Dog’, ‘One Night’ and the rehearsed anything.” which he sings sitting on his bed, and he shows you Sun classics are in one pile, while crap how the middle-eight is pinched like ‘Bossa Nova Baby’ and ‘Are You from Gary US Bonds’ ‘Quarter To Lonesome Tonight?’ go on another. Three’, which he heard on the radio “I’m gonna have a jukebox with just the other day. Elvis records on it. Isn’t it great?” Then there’s the song he and In the next room, the living room, is the Plastic Ono Band will be still more tribute to the life and works recording that very night for their of a total media freak. There are piles of Yoko’s book, To that end, the band will have a nucleus of John Christmas single. “It’s called ‘Happy Xmas (War Grapefruit, stacks of big fi lm cans and a hi-fi . (guitar and vocals), Yoko (vocals), Is Over)’, and he says that when he fi rst played it His travelling record collection includes albums by (piano), Klaus Voormann (bass) and Jim Keltner to Spector, the producer said that the fi rst line is a Bo Diddley (three), Chuck Berry (two), (drums). With luck, there’ll also be Phil Spector on direct crib from The Paris Sisters’ ‘I Love How You (six), the Mothers (everything), Paul McCartney guitar and vocals, onstage for the fi rst time since the Love Me’, which Phil produced way back in the pre- (‘Ram’ – and it’s been played at least once) and Link Teddy Bears, and a lead guitarist. John wrote to Eric Crystals days. Wray (with cover inscribed “To John and Yoko Clapton offering him the gig, but Eric isn’t too well “I like quoting from old songs,” John says, “but you – thanks for remembering – Peace, Link Wray”). and didn’t reply. get into such trouble with copyrights. It’s a drag.” The story behind the Wray inscription is that John “We’ll probably get some kid who just walks in He jams on what looks like a set of earphones, with and Yoko were getting out of a lift at 1700 Broadway, and knocks us out. D’you know anything about a an antenna protruding from each side. It turns out to which houses Allen Klein’s offi ce, when they were guy called ? He’s supposed to be the be an FM stereo radio and, within seconds, he offers confronted by Wray, who was going up to Polydor’s greatest, but I’ve never heard of him, I’ll have to fi nd it to Yoko. offi ces in the same building. out. I don’t want to play lead – I’m just an amateur.” “Hey, listen Yoko, that’s ‘Get A Job’, one of the Wray apparently said, “Hey – John and Yoko.” John But the fl exibility will still be there, and other old ones.” She listens and he turns. “I’m having to

BOB GRUEN-STARFILE/REX FEATURES GRUEN-STARFILE/REX BOB didn’t say anything to him, but turned to Yoko and musicians will be able to come and go as they wish. educate her about rock’n’roll, you see.”

NME ORIGINALS 49 1970-1971

THAT SAME EVENING, John is sitting on tradition of ‘’, ‘’, and Nicky plays chimes and glockenspiel, which have the fringed carpet of the , a studio on ‘River Deep, Mountain High’. Right now, well ahead been hastily hired, and Keltner adds a jangling four- West 44th Street. He’s surrounded by fi ve young of anyone (even Lennon), he’s hearing what it’s to-the-bar on a handy pair of sleigh bells. acoustic guitarists, to whom he’s teaching the chords going to sound like when it’s coming out of a million “How can you make a song called ‘Happy Xmas’ of ‘Happy Xmas (War Is Over)’. transistors. without bells?” Phil had asked, rhetorically, earlier. Why all those rhythm guitars? Listen – just At this point, they add bass and drums. Jim Now he’s smiling and mutters from the corner of remember who’s producing this session, brother. Keltner settles behind his kit, and one of the rhythm- his mouth: “I know something about Christmas One of the guitarists is Hugh McCracken, the guitarists is moved over to the bass because Klaus’ records, you know.” brilliant who played on ‘Ram’ but fl ight from Germany has been delayed and he’s going Instantly, minds fl ash back to Philles LP4005, John doesn’t know that yet. to miss the session. They can’t wait. ‘A Christmas Gift To You’. Several months in the He asks them for their names. “Chris.” “Teddy.” They run it down a few times, and Keltner’s making back there in the ’60s and now a rare classic “Stu.” “Hugh.” John turns to Yoko. “Hey, that Hugh expression while playing is like that of a man to those who know it. After that, Phil probably knew looks like Ivan, doesn’t he? Hugh, Hugh, you look whose toes are slowly being eaten away by a shoal more about making Christmas records than anyone just like an old school mate of mine.” of piranhas. It’s sounding very good, the tape is in the world. There’s a little break and everybody gets up and spinning all the time, and after each run they come The instrumental dubs over, time comes for the walks around. Someone tells John about Hugh. back and listen. vocal track to be cut. The song itself is really in three “Oh, and so you were just auditioning on ‘Ram’ John: “I like ones that sound like records…” parts: the verse, sung by John; the chorus, sung by were you?” John asks. “Yeah, ’e said you were alright.” “…before you’ve made ’em.” Phil fi nishes the Yoko; and a secondary chorus, sung under the lead Everyone grins. sentence for him. vocal, for which they’ll be getting in a bunch of kids They’re back to learning the tune. “Just pretend it’s Without even seeming to notice, they’re doing the next day. Christmas,” John tells them. “I’m Jewish,” says one. takes. During the second or third, it really begins to John says that he wrote it “because I was sick of “Well pretend it’s your birthday, then.” lift off. Phil is sitting at the board, staring through ‘White Christmas’,” and it could well take over as the Suddenly there’s a little fl urry at the entrance. Phil the sound-proofed window into the studio, spitting annual Yuletide anthem. It’s terrifi cally singable, in Spector’s arrived, in big shades, wearing a red and out comments at the engineer: “More echo on the the tradition of ‘’ or ‘Give Peace white button saying ‘Back To Mono’, A Chance’ and it’s very pretty too. which breaks everyone up. But he’s John and Yoko enter the studio, serious, you know. clap on the cans, and start singing Immediately, the session is working. over the track. John sounds wheezy, Within seconds of getting behind the unable to hit the high notes, and Phil huge board, Spector is thinking in terms shouts through the talkback: “Yoko’s not just of sound, but of arrangement, out-singing you, John.” He tells drama, production. It takes him about ten seconds piano, Roy… more echo… more… more echo, everyone in the booth: “He’s smoking his ass off while to get a sound which transforms the guitars from a c’mon! More! That’s it!” he’s singing,” and shakes his head in disapproval. happy rabble into a brilliant cutting wash of colour. He stands up during the second chorus, arms John fi nally gets Yoko to come in at all the right “Play that back to ’em,” Phil tells the engineer. wind-milling, looking at Keltner, signalling and places, with the aid of tactful prods in the back, and “Get ’em relaxed.” It does just that, and during willing him to lay into his tom-toms, urging him when Phil’s got the right echo on the voices they the playback Phil goes into the studio and dances to explode like Hal Blaine did almost ten years ago. fi nally lay it down right, and come back to listen to around with John. Keltner strains to oblige, and the take ends in a blaze the rough mix. They run through the changes again, with Nicky of glory with Phil shouting, “Fucking great! Great!” It’s right, and they start talking about what they’re Hopkins on piano this time. Immediately Phil tells Now, as the overdubs start, the Spector magic going to do with the strings, which they’ll overdub him: “Nicky, I’d like to hear more of that in octaves in is again overwhelmingly apparent. At John’s in a couple of days. Phil has the idea of getting them the right hand… makes it more dramatic.” John leans suggestion, the acoustic guitars play a mandolin-like to play ‘Silent Night’ over the fade and after falling down to the guitar mic and shouts. “Don’t dictate to riff, strongly reminiscent of ’s ‘Try about they all agree that it’s exactly right. them yet, Phil, let them get comfortable fi rst.” Some, Buy Some’, and all sorts of percussive effects Nicky is worrying about the piano part, which he’s Already, you see, Spector is into the groove, are tried. already overdubbed, and wants to do it again. They moulding and blending and transforming in the listen back once more, tell him it’s perfectly all right as it is, and John adds: “Did you know that George Klaus Voormann: wanted to re-do his guitar solos on ‘Gimme Some ace of bass Truth’ and ‘How Do You Sleep’? That’s the best he’s ever played in his life, and he’d never get that feeling again, but he’d go on forever if you let him.” Once again they remix what they have. By this time it’s four o’clock, and after a few more listens everyone goes home. Three hours later, I wake up singing “War is over… if you want it… war is over now”.

Nicky Hopkins: the key man

50 NME ORIGINALS 1970-1971

“It’s really bad… just four musicians, and it’s awful.” “Don’t talk about it. It depresses me.” “Don’t worry, John. ‘Imagine’ is Number One, and this will be Number One too. That’s all that matters.” “No, it’s not that. It’s just that whenever anybody mentions his name, I don’t think about the music – I think about all the business crap. Don’t talk about him.” Splicing over, the lights are turned off for the fi nal playback, and it’s magical. Leaving the studio, it’s a shock to realise that those soft, white fl akes aren’t drifting down through cold night air. Actually, it’s quite warm out.

JOHN AND YOKO are being talked about as the new Burton and Taylor, but really they’re closer to Douglas Fairbanks and Mary Pickford, in the way that they’re at the centre of an artistic maelstrom. They’ve been in New York since the middle of August and they’re likely to stay there a long time. John’s recent statement in the MM, that they’re not appreciated in Britain, is understandable John and Yoko make their point when one sees them in New York. in Times Square There, they’re in a creative milieu which understands and embraces them, and what’s more, moves at their IT’S THE FOLLOWING night, and the band is While they discuss it, Phil pronounces the name phenomenal pace. Everybody travelled to Syracuse, running through the song which is going to be the “cheleste”. Everybody else starts by calling it “seleste”. in upstate New York, for Yoko’s recent exhibition, single’s B-side, Yoko’s ‘Snow Is Falling’, the fi rst of Within minutes, it’s “cheleste” all round. If that’s whereas if they’d held something similar in, say, her songs that she ever showed John. how he says it, that’s how it is. Coventry, it would have been virtually ignored. But there’s an argument. John and Yoko can’t agree As the engineers work, Nicky and Hugh and Jim It’s a never-ending furore and, to zone in on it even about the tempo. “I’m not gonna play on this,” says start to play the blues. harder, they’ve moved out of the St Regis Hotel and John, who was picking out lines on heavy-reverb “Uh-oh,” says Phil. “They’ve started jamming, into the Village, where they’ve bought one loft and guitar. “I asked you to play the organ,” says Yoko. and we’ll never get anything done. Let’s put a stop to are renting another. “I’ve been asking you to do that all along.” that.” He moves to the connecting door. “It’s the best place in the world,” John states fl atly. John decides to go back into the “Every time the car leaves the Village, booth, where Phil greets him with, I feel sick. Going back to is “I thought this was supposed to be like going to – and I don’t a light thing.” It was, John agrees, want to live in Denmark.” but “she says, ‘Faster’ and they all get rocking like fuck.” SUNDAY AFTERNOON AT the Yoko is telling Nicky to play lighter Record Plant, and they’re starting on the intro. “Pretend that it’s snowing… that snow “STOP JAMMING” screams Yoko, nearly bursting early because the choir is there, and the choir has to is melting on your fi ngertips. Not that banging.” the talkback speakers. They stop as one man, in mid- be in bed soon. Nicky gets it right, while Klaus and Hugh semiquaver, leaving John to add, almost apologetically: The choir is 30 , aged from about four to McCracken (who’s been invited back after his “Well, you’ve got to do something while they’re 12, with a quartet of nubile young teens whom John performance the previous night) work out little runs trying to make the piano sound like a celeste.” His instantly dubs “The Supremes”. and licks which turn out like early Curtis Mayfi eld. pronunciation has slipped back to the “s”. John and Yoko teach the kids the song and the They all try it and Yoko and Klaus get into a Yoko is obviously tense, and confi des that she words to ‘Happy Xmas’ from a blackboard, and after shouting match about where the chords go at the believes the musicians don’t take her songs as only a few tries they’ve got it. end of the song. Klaus gets up, unstraps his bass and seriously as they might, but this is a very good song, “Fucking great!” shouts Phil afterwards, leaping appears ready to walk about. But John placates both no doubt about it; very attractive and extremely around, and the engineer quickly checks that the him and Yoko and they try it again. commercial, and by the time the overdubs have been talk-back is off. John: “Fantastic…” done it sounds like a potential A-side, much stronger It’s all fi nished now, apart from the strings, so Phil: “Great, great tape echo…” than her current single, ‘Mrs Lennon’. the Lennons, the band, the kids, the engineers, the GES Yoko: “How was my voice?” Only one thing remains and that’s to put on the secretaries, Phil and Phil’s brother-in-law Joe gather Phil: “Great… lots of tape echo…” sound effects. Someone digs out the effects album round to pose for a picture for the cover of the single. It sounds simple and pretty, but within fi ve that all studios keep for such occasions and they The photographer is being a little slow, having minutes they’re talking about adding organ, chimes, decide to open and close the track with the sound of trouble getting everyone into the frame, so Phil more guitar and even sound effects. ‘Feet In The Snow’, superimposed on ‘Strong Wind’. takes over: “When I shout ‘ONE TWO THREE’, What they want is the sound of a celeste, but there The engineers begin splicing the tapes and Phil everybody shout ‘HAPPY CHRISTMAS’ and you isn’t one available, so the engineers get to work to asks John: “Have you heard Paul’s new album?” take the picture. One two three… OK, you got it.”

REDFERNS/CHUCK PULIN-STARFILE/GETTY IMA make the sound like one. “No.” I’ll bet he even produces his breakfasts.

NME ORIGINALS 51 1970-1971

November 1971, p MM, 20 age 32

Paul McCartney talks to Chris Charlesworth about his new band, but reveals how the legacy of his old one is still holding him back

“ just want the four of us to get together concert, Allen Klein, the Scottish farm somewhere and sign a piece of paper and the press are all brought up. saying it’s all over, and we want to divide Paul is being very honest and the money four ways. straightforward – probably too honest. “No-one else would be there, not even “Don’t print this but…” is the preamble Linda or Yoko, or Allen Klein. We’d just to many of his remarks. sign the paper and hand it to the business The names have been changed to people and let them sort it all out. That’s all I want protect the innocent. Paul’s bitterness now. But John won’t do it. Everybody thinks I am the towards Allen Klein is obvious, but his aggressor but I’m not you know. I just want out.” attitude towards the other three Beatles Paul McCartney is at home in the control room seems more of concern than of dislike. of studio two at EMI’s . He sits He worries about their affairs but is tired in the switchboard and looks around at the familiar of warning them. They are tired of his studio walls. Classic Beatles songs were constructed warnings, so Paul just wants to get out. in this very spot in London’s St John’s Wood. There is no bitterness when he talks Linda and Paul He’s in the mood for talking. The gathering was of John. “John and Yoko are not cool spread their Wings set up to listen to the new album from Wings, but in what they’re doing. I saw them on in the recording conversation shifts inevitably to other things. There television the other night and thought studio in 1971 are so many things Paul can talk about. that what they were saying about what , Wings’ drummer, and guitarist they wanted to do together was basically obviously aren’t too happy about Paul’s the same as what Linda and I want to do. ‘Yesterday’, it seems, is a bone of contention constant references to the past. Neither is Linda, “John’s whole image now is very honest and open. with Paul; in fact all the Beatles classics that he is whose hand is in constant contact with Paul. Neither He’s alright is John. I like his ‘Imagine’ album, but associated with. He doesn’t own them, but feels he too is Shelley Turner, Paul’s general secretary. I didn’t like the others. ‘Imagine’ is what John is really ought to. “I don’t own anything I write because of the “He’s talking about money now. That’s one of his like, but there was too much political stuff on the old contracts. We get royalties from them, but now pet points. He’ll never stop. Denny and Denny are other albums. You know, I only really listen to them when I write with Linda they sue me because they protesting, but there’s nothing I can do,” she says before to see if there is something I can pinch,” he laughs. claim she can’t write. Well, I know she can. I face the action. “Please get him on to talking about And how do you sleep? “I think it’s silly. So what if “The song publishers claim that they made the Wings. That’s why we are here after all. The others can’t I live with straights? I like straights. I have straight songs as popular as they were but they didn’t. It was join in talking about The Beatles. I wish he wouldn’t go babies. It doesn’t affect him. He says the only thing us because we bloody well wrote them. I’ll never own on like he does. There’s really no stopping him.” I did was ‘Yesterday’ and he knows that’s wrong.” ‘Yesterday’ – not in 50 years, not even when I die. I’m Paul motions to the studio below. “I used to sit prepared to forget that. I just want to own the things THE ACTION IS fairly fast when I reach the control down there and play and John would watch me from I do now, but I can’t because of The Beatles’ contract.” studio. It’s as if Paul wants to get all he has to say out up here and he’d really dig some of the stuff I played The contract, Paul says, has another seven years to of his system. The Beatles, Wings, money, Apple, to him. He can’t say all I did was ‘Yesterday’ because run. Until then, by law, he’ll be a Beatle. In the eyes , John and Yoko, George’s Bangla Desh he knows and I know it’s not true.” of the world he’ll always be a Beatle. “The Beatles

52 NME ORIGINALS 1970-1971

never actually copped for all this money,” he says. Klein called a press conference and told everyone “I didn’t really fancy playing anyway. If it wasn’t for “Everyone else did. I wouldn’t care but you’d think I had refused to do it – it wasn’t so. Klein I might have had second thoughts about it but we could have a new deal now. You’d think they’d “I said to George the reason I couldn’t do it was I don’t know, really. Allen’s a good talker. The others release us. They’ve made a lot of money and we could because it would mean that all the world’s press really dig him, but I’ve made the mistake of trying to shake hands and part company but now advise them against him and that pissed we can’t. I’m being sued for a million them off. I think they might secretly feel pounds in New York by Northern Songs. that I am right though. It’s so complicated.” “You know when ‘Let It Be’ came out Paul shrugs his shoulders, seemingly there was a little bit of hype on the sleeve indicating that he doesn’t want to talk for the fi rst time ever on a Beatles album. about money any more, but during At the time we were strained with each the conversation the subject crops up other and it wasn’t a happy time. It said again. So does Lennon, so does Klein and so do would scream that The Beatles had got back together it was a new phase Beatles album and there was The Beatles. He could go on forever… again and I know that would have made Klein very nothing further from the truth. “You know I was asked to play George’s concert in happy. It would have been an historical event and “That was the last Beatles album and everybody

GETTY IMAGES New York for Bangla Desh and I didn’t? Well, listen. Klein would have taken the credit. knew it. There was no new phase about it at

NME ORIGINALS 53 1970-1971

all. Klein had it re-produced because he said it some things together and it was great. We just didn’t sound commercial enough.” rehearsed a couple of numbers together.” Talk turned to Beatles live shows – or lack of It seems that, within reason, just about everybody them. “John wanted to do a big thing in Toronto plays everything on the album. The drums, but I didn’t dig that at all. I hear that before he went naturally enough, are Denny’s main concern, onstage for that thing he was sick, and that’s just although additional percussion is contributed by what I didn’t want. Like anybody else I’d have been all. Paul plays most of the lead guitar – “I’d always nervous because of the Beatle thing. fancied myself as a lead guitar” – while Denny plays “I wanted to get into a van and do an unadvertised harmony lead, chords and some bass. Paul too plays concert at a Saturday night hop at Slough Town bass and mainly the on the album have Hall or somewhere like that. We’d call ourselves been overdubbed. Linda plays most of the piano Rikki & Red Streaks or something and just get up and organ lines. and play. There’d be no press and we’d tell nobody “Linda isn’t very experienced so the keyboard about it. John thought it was a daft idea. parts tend to be very simple and that is, I think, “Before John said he was leaving The Beatles very valuable. It has an innocence rather like I was lying in bed at home one night and I thought a child’s painting,” said Paul. I would like to get a band together Linda: “We’ve put the rock songs on one side and like his Plastic Ono Band. I felt the the slow songs on the other. That’s so you can play urge because we had never played Great Scot: Linda it at parties. When you want to you play side and Paul at the live for four years. We all wanted to Wings launch party, one, when you want to croon you play side two.” appear on a stage but not with The 8 November 1971 The conversation turned, this time to Beatles. We couldn’t do it as The Paul’s other two solo albums, both of Beatles because it would be so big. which were heavily criticised on release. We’d have to fi nd a million seater “Well, the fi rst one was just like testing out hall or something. a studio. I played all the instruments and “My best playing days were at the did everything myself. It was simple, and Cavern lunchtime sessions. We’d I was just having a play. go onstage with a cheese roll and a “‘Ram’ was more of an album concept. cigarette and we felt we had really With this album I tried very hard and something going. The amps used I really hoped people would like it. I liked it to fuse and we’d stop and sing a myself and . Sunblest bread commercial while they were repaired. “It was probably a little too important “I’d walk off down the street playing my guitar and to me to feel that people ought to like my annoying the neighbours. I couldn’t do that now, but “We worked on ‘Ram’ together and fi nally got to music. I really wanted them to like ‘Ram’. I thought it’s what I want to with this new group.” know each other, so he was the obvious choice of I had done a great album. I don’t see how someone a drummer when it came to forming the group. can play it and take in all that stuff and turn round WINGS, IT SEEMED, had at last been drawn into “Then I was thinking of getting another guitarist and say, ‘I don’t like it’ just like that. You may well feel the conversation. A look of relief passed among the and I knew Denny (Laine) and thought he was differently after some weeks.” audience when I asked about how Paul formed the a good singer and he wasn’t really doing anything.” It seems that Wings could make a live appearance group and what plans he had for it. Denny: “I was, actually, but…” tomorrow, next week, next year or never. The whole “We met Denny (Seiwell) in New York when we Paul: “I thought ‘’ was fabulous. He came band is very, very loose but it seems there are no were looking for a drummer for the ‘Ram’ album. round to see me and brought a guitar and we played

WILD LIFE Wings Apple

REVIEWED: MM, 11 December 1971, page 14 aul has made a discotheque voom-voom (KLM and BOAC jet-setters under the crossbrs at Ninian Park, album. This is a real shady club only) club goodie. It will be a favourite. with campfires blazing on the P goodie – but you’ll have to wear We did a sexy smooch-cum-waltz to touchlines, and penalty spots. a tie. ‘Mumbo’ sounds like Edmundo Ros ‘Wild Life’, its soulful kick pressed us ‘Tomorrow’ came on next, and freaked out, complete with guitarists together. If it were five years ago you’d we sat it out, and talked loudly who appear to have fingers in splints. have suspender-belt buttons over it while the elders But we had a samba, and wobbled pushing into your thighs smooched. Its closely together on the floor. The music with this one. The music curling rhythms shifted well in places, with vamped guitar Side two hissed in shifted well crawled up my and beast-like Mac vocals. ‘Bip Bop’ we with ‘Some People trousers. found nice for bum wiggling. Never Know’. We in places, with I left. We It sounds like the sort of thing four caught a couple of vamped guitar cried together over screamed from the album. It peroxide English blondes and a greasy chilled Americanoes, and beast-like ‘Dear Friend’, standing was the outro – jerky, heavy, funky blues guy might sing on The Val Doonican and did a slick, slow together on the floor, trash. We wanted to get our , but Show, but it’s a bopper, and you bossa to the music at the Mac vocals hardly employing a it finished after a minute or so. A dream can do a super things to it. Musically, Villa Gay, Lloret-de-Mar. muscle. Its lonely, desolate album for airline hostesses, but musically, ‘Love Is Strange’ is pointless. But, with Then, as the music got steamy, swaying and heartbroken and on the originality stakes, there’s too that flair which I thought sacred to The we did the lope, kissed and went to bed, baying smeared us together. Mac’s voice many maracas around, and not enough Dragonaires, it comes out with not beefy with another four minutes of the track tore painfully out of the speakers. Then, balls. But he’ll do something good, mark feeling, but a porky shift. This is a real to run. To ‘I Am Your Singer’ we limboed almost as an afterthought, a belter my words. Roy Hollingsworth

54 NME ORIGINALS 1970-1971

immediate plans for a live show. But that doesn’t rule out the possibility of Paul turning up and making an MM, 4 DECEMBER 1971, PAGE 9 unscheduled appearance. “We just don’t know how we are going to do. I don’t want to start with a Wings concert at the Albert Hall wo weeks ago, Paul McCartney talked to the Melody Maker about his new band and his relationship with Apple and the with all the world watching and analysing. I just want other three ex-Beatles. On Monday, the MM received a letter to Paul from John Lennon in New York, with the request to play a small dance and rock a bit,” said Paul. T that we publish it on the grounds of giving “equal time” to his side of the story. John answers several points made by Paul in the interview. First, he refers to Paul’s expressed desire to leave Apple, and to the problems of taxation which that “We will start by just turning up at a place we fancy ” on the ‘Let It visiting and just playing a straightforward gig. We involves. Second, he refers to Paul’s “warning” about Allen Klein. Third, to Paul’s reference to the “bit of hype , Be’ , which Paul said was the first of its kind ever on a Beatles album. Fourth, to his current domicile in New York might use another name to keep it quiet. We have and to Paul’s comments about The Beatles playing live gigs, separately and together. Fifth, to Paul’s remarks on John’s latest rehearsed and we can play live together. In fact it album, ‘Imagine’. Sixth, to the McCartney comment that Klein had called a press conference to announce that Paul wouldn’t sounds quite good. It doesn’t really matter that much. play at the Bangla Desh concert – “Klein, would have taken the credit” – and seventh, to Paul’s intention to put his picture on “I don’t want Wings to become a media group, the label of his Wings. Nine lines of the letter have been omitted by the MM, in deference to the laws of libel. with our signatures on knickers which are sold for promotion. I don’t like that now. I was happy with Dear Paul, – you say you “made the mistake of and do it! Do it! Do it! Eg Cambridge that situation in The Beatles, but it died in the end. We trying to advise them against him (1969 completely unadvertised! A very are starting off as a new band, but if we ever get to be Linda et all the (Klein), and that pissed them off” small hall), Lyceum Ballroom (1969 no huge like The Beatles it will be very diffi cult.” wee McCartneys, and we secretly feel that you’re right! fuss, great show – 30 piece ! Why did Paul choose to come to England to record Good God! You must know we’re right ‘Live Jam’ out soon!) Fillmore East (1971, unannounced. Another good Wings? “I decided it was a better studio here in about Eastman… Thanks for your letter… One other little lie in your “It’s Only time had by all – out soon!!!) with the England. It’s all big business in New York. It’s a nicer 1. We give you money for your bits Paulie” MM bit: ‘Let It Be’ was not the great David Peel!!! We were moved on atmosphere here. We all like England better.” of Apple. “first bit of hype” on a Beatles album. by the cops, even!!! I t’s best just to DO Britain turned to Scotland and Paul seemed happy 2. We give you more money in Remember ? And his IT, I know you’ll dig it, and they don’t to talk about life on his Scottish farm, bought purely the form of royalties, which legally wonderful writing on ‘Please Please expect The Beatles now anyway! for privacy. “We have a great time in Scotland but belong to Apple. (I know we’re Apple), Me’ etc etc, Xmas So you think ‘Imagine’ ain’t don’t appreciate people coming to see us up there. but on the other hand, we’re not. records! political. It’s ‘Working Class Hero’ We’ve 60 acres of very rough land and it’s the kind of And you gotta admit it was a “new with sugar on it for conservatives like Maybe there’s an answer there farm that everyone else has given up bothering with. phase Beatle album” incidentally yourself!! You obviously didn’t dig the somewhere… but for the millionth words. Imagine! You took ‘How Do We’ve over 100 sheep and fi ve horses and we sell the written in the style of the great time in these past few years I repeat, Barrow himself! By the way, what You Sleep’ so literally (read my own wool. I shear the sheep myself. What about the TAX? It’s all very well happened to my idea of putting the review of the album in Crawdaddy). It’s back to nature for me up there. The air is so clean playing ‘simple honest ole human parody of our first album cover on the Your politics are very similar to Mary and grass is so green. Last time we were in New York Paul’ in the Melody Maker, but you ‘Let It Be’ cover? Whitehouse’s – “saying nothing is as I went for a walk in Central Park and there was a layer know damn well we can’t just sign a Also, we were intending to parody loud as saying something!” of dirt on the grass everywhere. bit of paper. Barrow originally, so it was hype. Listen my obsessive old pal, it You say “John won’t do it”. I will But what was your Life article? Tony was George’s press conference – not if you’ll indemnify us against the Barrow couldn’t have done it better. “dat ole debbil Klein”. He said what ! Anyway, you know that after (And your writing inside the Wings you said – “I’d love to come but...” we had our meeti ng, the fucking album isn’t exactly the realist (sic) Anyway, we did it for basically the lawyers will have to implement is it?) Anyway, enough of this petty same reasons – the Beatle bit – they whatever we agree on – right? bourgeois fun. still called it a Beatle show – with just If they had some form of agreement You were right about New York! two of them! between them before we met, it I do love it; it’s the ONLY PLACE TO Join the Rock Liberation Front might make it even easier. It’s up BE. (Apart from anything else, they before it gets you. to you; as we’ve said many times leave you alone too!) I see you pref er Wanna put your photo on the label “It’s very out of the way. You need a Land Rover to – we’ll meet you whenever you like. Scotland! (MM) – I’ll bet you your like uncool John and Yoko, do ya? nd! Eg, two get to it. It was only this summer that I had hot water Just make up your mi piece of Apple you’ll be living in New (Ain’t ya got no shame!) If we’re not weeks ago I asked you on the phone, put in. There’s no luxury up there for is.” York by 1974 (two years is the usual cool, WHAT DOES THAT MAKE YOU? “Please let’s meet without advisors, No hard feelings to you either. Paul doesn’t want to talk too much about the farm time it takes you – right?) etc and decide what we want,” and Another thing, whaddya mean “big I know basically we want the same, because it’s very personal to him. A place where he can, I especially emphasised “Maclen” thing in Toronto”? It was completely and as I said on the phone and in this for once, be an ordinary human being. I ask whether which is mainly our concern, but you spontaneous, they rang on the Friday letter, whenever you want to meet, all there are any current rock artists he admires. refused – right? – we flew there and played on the you have to do is call. “I like T.Rex. They seem to be getting to be the new You said under no condition Saturday; I was sick ’cause I was stone All you need is Love, generation Beatles, with the girls tearing their trousers would you sell to us, and if pissed. Listen to the album, with no Power to the people, off. It’s great at fi rst but they’ll soon tire of it all. we didn’t do what you rehearsal too! Come on Macka! Free all prisoners, “I like what Graham Nash is doing. We met him for wanted, you’d sue us Own up! (We’d never played Jail the Judges. again, and that Ringo Love and peace, dinner in LA, but the atmosphere was strained and we together before!) Half a and George are going Get it on and rip ’em off. didn’t really get to know each other. Have you got the dozen live shows – with to break you John, no big fuss – in fact we’ve new Beach Boys album, ‘Surf’s Up’? That’s good, too.” etc etc. been doing what you’ve Lastly I enquired whether Paul still wished to be Now I was quite been three years! (I said it associated with Apple. “Well there’s a delay with the straight with you that was daft for The Beatles to PS The bit that really puzzled us record because we didn’t want a picture of an apple day, and you tried to do it, I still think it’s daft) was asking to meet WITHOUT on the label but it looks as though we will have to. We shoot me down with your So go on LINDA AND YOKO. didn’t want to be on Apple but we can’t get out of it. emotional “logic”. If you’re I thought you’d rstood “The sleeve won’t even mention my name on it. not the aggressor, (as have unde you claim), who the hell BY NOW, that I’m Everyone knows who Wings is, and there’s no need to took us to court and shat JOHNANDYOKO. tell them who I am is there?” all over us in public? PPS Even your It was time to go for the group intended to use the As I’ve said before – own lawyers know studio to cut a single. have you ever thought you can’t “just sign “Well it’s been good to see you,” said Paul as I made that you might a bit of paper” my way out. “Hope to see you again sometime. I’m possibly be wrong (or don’t they tell you?!) J R GLANVILL/CAMERA PRESS-ALEX AGOR only human, you know.” about something? Your conceit about us and Klein is incredible NME ORIGINALS 55 MICHAEL PUTLAND-RETNA ER CHAPT TWO

JOHN Save Our Lennons Campaign Live at Madison Square Garden “Don’t push yer luck, Bolan” ‘Mind Games’ ‘Some Time In New York City’ PAUL Wings’ live debut ‘Hi Hi Hi’ banned ‘Live And Let Die’ ‘Red Rose Speedway’ Recording ‘Band On The Run’ GEORGE ‘Living In The Material World’ RINGO ‘Back Off Boogaloo’ Ringo & Marc Bolan ‘Ringo’ album released 1971-1972

ebruary 197 ME, 19 F 2, page McCartneyN 16 on the road He’s back after a fi ve year absence, with a surprise live gig in Nottingham. Exclusive report by Geoff Liptrot and friends of Gongster, the Nottingham University newspaper

n circumstances bordering on the unreal, As the hall fi lled with surprised, delighted students Paul McCartney chose Nottingham the band moved straight into ‘Mess I’m In’ – a bitch University to break his fi ve-year absence of a number, its popularity proved by McCartney’s from live gigs. At less than a day’s notice decision to repeat it during the second set. I he gave a spontaneous lunchtime concert This must not be made too much of, however. The with his new group Wings to about 700 dazed and entire concert was more or less a public rehearsal, disbelieving students. albeit by some of the most respected fi gures on the It all started the day before when the McCartneys rock scene. and the rest of the band left London and headed up As the band warmed up, gaining more confi dence the M1 in their hired red van. with every number (partly due to the rapturous As Paul told us: “We took off from London with applause from the bedazzled audience which greeted the idea of going on tour, but instead of fi xing up them), the music began to move nicely. days and gigs ahead of ourselves we wanted to keep McCullough swapped guitar-licks gracefully and very loose. So we just took off in the van yesterday.” easily with Denny Laine and played a nice laid back They left the motorway at Hatherton, just after solo on ‘Blue Moon Of Kentucky’. Leicester, for no other reason than Paul liked the ‘Say Darlin’’ followed. A slow ’50s number to name. This was the peculiar sort of logic that led him smooch to, during which McCartney showed his out of self-imposed exile command of the to play at Nottingham audience – he had only University – a place not “Instead of touring, to ask and everyone was normally noted as venue clapping along. for superstars. we wanted to keep it During the rock’n’roll Unable to fi nd a hotel at encore which ended Hatherton, they headed very loose. So we just the concert (a repeat of for Nottingham, 12 ‘Lucille’ and ‘Long Tall miles away. Then Henry took off in the van” Sally’) he exhorted us McCullough, Wings’ lead to dance. And we did. guitarist, remembered he had played at Nottingham The fl oor jam-packed with a crowd far exceeding the last year with and had liked the place. fi re limit (ever tried keeping a believer from seeing So, at 5pm on Tuesday, Paul and his entourage his Messiah?). casually walked into the Union building, grabbed The fi rst set ended with ‘Wild Life’, the title track the nearest executive, and suggested Wings play their from his last album which was panned by almost debut concert there the next day. every music reviewer in the country. After a few minutes with the dumbfounded Union Lack of critical acclaim did not seem to matter to Social Committee the performance was fi xed up the audience however, and why should it? McCartney Notts landing: McCullough and and the news began to fi lter through to a sceptical has severed all links with The Beatles, so why judge McCartney, student population. It was only as the sound of him by standards which he himself disowns? 9 February 1972 Wings warming up echoed through the building that Here was a damn fi ne little band who, even by everyone realised that this was indeed for real. other standards, would be very highly rated. They For those who grew up in the shadow of The left the stage for a break and we settled in, still rather a shuffl e blues, and ‘Mess I’m In’ kept things moving Beatles it was hard to put into words the feeling of incredulous, for the second set. nicely, showing that Paul is at home on hard rock as sheer excitement generated by seeing the man who It was, if anything, an improvement on the fi rst on slower things like ‘My Love’ which followed. represented the very heart of what they stood for – with the exception of the opener, ‘Bip Bop’. It was At once, this number aroused reminiscences of standing there onstage singing ‘Lucille’. just a little too trite, a little too middle of the road. his more well known material (‘Let It Be’ spring to McCartney has not performed onstage for fi ve ‘Give Ireland Back To The Irish’, Wings’ new single, mind). Seated at the piano, he was back in the days years, and it was plain to see he felt good to be back. also grated a little with its harsh, sing-song chorus of ‘Hey Jude’; a little boy lost, singing about his love His new band seems to summarise his new attitude immediately conjuring up visions of a drunk rolling simply and without thrills. to music. The complexities of previous works such as along a street bellowing at the top of his voice. If there were any faults in the performance they ‘Sgt Pepper’ and ‘Let It Be’ are relaxed now by simple, But the rest of the set more than compensated. were quickly forgotten when fi nally he put on his happy music. McCullough and Laine both played superb solos on blue suede shoes to lead the rousing rock’n’roll closer.

58 NME ORIGINALS After the highly controversial ‘Give Ireland Back To The Irish’, the McCartneys return with a highly commercial One got the impression it must have brought back about seeing one of the most important infl uences song which incorporates memories for McCartney of The Beatles’ lunchtime ever on rock music, backed – as he was for the most the traditional nursery sessions years ago at the Cavern; every person in the part – by a tremendously tight, exciting band and rhyme as lyrics. Whereas place dancing, stomping and clapping. And then, really enjoying every minute? ‘Ireland’ heavily featured with a brief “ see you next time”, they were gone. We As the audience left people were already dissecting Henry McCullough’s aggressive lead guitar and hardly were left dazed, realising the music-history-making the performance, analysing it unnecessarily. But the featured the likes of Linda, ‘Mary’ has the latter’s piano occasion we had just witnessed. fact is: Paul McCartney is back. Disregard the critics. up-front as the main rhythm instrument, while Henry In places the band was, however, less than musically On Wednesday afternoon last he showed his paces tastefully accents the production on mandolin. The single brilliant. Paul’s bass-playing was sometimes to an audience packed like sardines for about two comes complete with a coloured label. Wings will have no mundane and his good lady wife consistently hit hours in a cramped ballroom. trouble finding radio play with this one. some pretty duff notes. But who could complain It was a concert none of us here will ever forget. Danny Holloway NME, 6 May 1972, page 15

NME ORIGINALS 59 1972-1973

SAVE OUR MM, 17 June 1972, page 6 LENNONS CAMPAIGN

Yoko and John still had time to go to the supermarket

pple’s offices in New York their talent to be so outstanding as to hover on the 40th floor of be ranked among the greatest of our A a huge block on Broadway. time in these fields, a grave injustice is Like most companies there’s a continual being perpetuated by the continuance of hubbub of activity. People seem to be the deportation proceedings,” says New busy doing nothing, except in one corner York’s Mayor John Lindsay. where lies the newly founded National Richard Myers and John Hendricks Committee For John And Yoko Lennon, are two co-ordinators of the National one of the most unusual organisations Committee, which is led by a charming ever founded. middle-aged lady Lennon to Bolan: The Committee’s called Helen Seaman. aims are to keep Americans see All work at Apple. John and Yoko in the threat of Says Hendricks: “Don’t push yer luck” America. At the “There is no real moment the couple leader of the MM, 1 April 1972, page 8 deportation as a hat most voracious of media freaks, John Winston wait in limbo… Committee, it’s Lennon, has been scouring the MM again. waiting, unable to “grave injustice” just that a bunch of This time BP Fallon, T.Rex’s “radio do anything until people got together T with the news”, as he styles himself, the US immigration authorities decide as friends of John and Yoko. They decided comes under the lash. In the March 18 MM, Beep whether to chuck the pair out of New to form some sort of organisation that commented that he thought Bolan was now as York, or to let them to stay on. would reach the grass roots of the issue. important as Lennon or Dylan, and that people like But what the immigration people We would try and get to the people.” Lennon and Jagger were now checking Marc out. thought was a simple deportation And get to the people they did. “In New York Marc and Lennon sang rock’n’roll order has grown into a monster. Petitions were printed, and soon filled; songs to each other,” Beep told us. “Lennon’s written Millions of Americans see the threat of thousands of letters began to arrive at a new song called ‘Mystery Train Again’, or something deportation as a “grave injustice”, and the office, letters from 16-year-old kids like that. He played the beginning and Marc said, ‘But even more than that, they regard it as a in Texas; letters from adults, letters from that’s ‘Jeepster’!’ And he said, ‘Oh, I never listen to records.’ sharp, bitter kick at freedom. leaders of unions, vicars, truck drivers, Lennon was, in fact, sitting in front of a pile of records about six-foot high.” Just in case you’re foggy about why the poets, artists and just about every A storm is unleashed. “I ain’t,” writes John to the MM, “written no ‘Mystery Train US authorities are after Lennon’s blood, section of the community. Again’ – it was ‘Mind Train’ on Yoko’s ‘Fly’ album. I also ain’t never heard ‘Jeepster’, it’s simply a case of casting your mind An instant jamming band called The tho’ I heard and liked ‘Get It On’ and his fi rst hit. Anyway, we all know where all back to 1968 when John was found guilty Justice Department got people off the these ‘new licks’ come from – right, Marc?” twists. of possessing cannabis resin in London. streets to make a single called ‘Let John John comments that the “six-foot high pile of records” were, in fact, acetates of the That is why he has been refused a And Yoko Stay In The USA’. new Lennon/Yoko album, ‘Some Time In New York City’. further visa to stay in America, and that “When the Government see what So there. is why they are out to deport him. they’ve stirred up they’ll be really “I really don’t have time to listen to other people’s records. You can’t be both fan “In the light of the their unique past surprised. They thought they could and musician. By the way, Marc’s checking us out, not vice versa! He called us, babe! and present contribution in the fields just go ahead and get John out,” said Anyway, he’s OK – but don’t push yer luck. Love, Lennon, Ono.” of music and the arts, and considering Hendricks. Roy Hollingworth

60 NME ORIGINALS Roy Hollingworth on how Lennon saved the One To One charity concert from tedium

ew York: Johnnie stopped the set a while and, jawing on gum, said he was going to go back “just wunce”. With that he counted in, “Wun, two, N three, four” and with his body fused to the mic stand, his chin up, his legs slightly apart, he slugged out the opening jangle into something everybody knew. Then he spat out ‘’. I know my heart was kicking double time and there was a bellyful of butterfl ies about. You could feel a hot fl ush rush right round New York’s Madison Square Garden. Lennon stood there in US battle dress spitting and snarling ‘Come Together’. He didn’t move much, he just sang and played in this pushy attacking manner… “Hold you in his arms yeh you can feel his disease”, and it was almost vomit as it left his mouth. Mine weren’t the only fi sts clenched. Throwing up a gurgle and chunk, and wall of John Comes rock’n’roll behind him was the wonderful Elephant’s Memory. Stan Bronstein on sax blowing rude notes, the whole band pumping behind Johnnie, who was in such brilliant form, such a happy state this evening at the Madison Square. He saved the whole One To One charity concert, Together held in aid of New York City’s mentally retarded, from being one helluva yawn. We’d sat for fi ve hours watching cameo performances from Stevie Wonder and, the dirge of all time, Roberta Flack. They’d only played for about two hours between them – the rest of the time – And How! being taken up with re-setting the stage. I do wanna be a You couldn’t even get a beer and death due soldier: John and September 1972, to boredom looked like setting in. Yoko come out MM, 16 page 28 But as the massive clock behind stage fi ghting in New York ticked one minute past midnight, the vibes began to operate. Thousands of tambourines had been handed out, and John and the Elephants gave such wild punk they were being beaten in the gloom. Then for ‘Cold Turkey’, his voice now breaking from ‘Power To The People’ rang through the it’s roots. On ‘Mother’ he was just frightening. PA, the spotlights were turned on and He sat down and, guitar hanging from his there stood Lennon, and to his left in all back, played short bunches of chords on the white, Yoko. A near full Madison Square electric piano. If any of you thought that John’s Garden got up and clapped and sang. ending on ‘Mother’ was something dandied The power gained, Johnnie counted the up in a studio, forget it. His voice became band in, and they ripped into ‘New York unnatural with torment, it was like he was City’ – hell what rock’n’roll it was and being sick. It creased your ears. the sight of John up there swinging a leg, He looked a master of It all trembled down for ‘Imagine’, another and ducking his guitar about was just faultless piece. That song’s going to be sung too bloody much. Yoko sat pounding confi dence, a leader in battle for all time. Every phrase was perfect. an electric piano, a pair of big black And so to ‘Come Together’, which shades making her look like a fl y. The sound was She is at last making contact with the people who surprised everyone. So he went back for a while – and magnifi cent with its intensity and John’s voice was didn’t know what the hell she was going on about he needn’t have worried one bit about that, he was immediately rough as a week without a shave. – and that’s such a vital thing for John also. into it like fury. And it was valid. He looked a master of confi dence, a leader in a He gritted out a numbing ‘Woman Is The Nigger When Lennon commenced ‘Give Peace A Chance’ battle, chewing on his gum, his clothes ill-fi tting, Of The World’ with no lesser degree of power, of suddenly the stage began to crowd with people, glasses perched on his nose. Did he look cool. feeling than he did with you know who onstage all all wearing tin helmets and chanting. There was Now it might be said that Yoko can’t sing, but she those years back. Johnnie hasn’t really changed at all. Phil Spector, Melanie and Allen Ginsberg. Then delivers with such honesty, such force, and such “I’m only just realising what this song’s all about,” somebody led Stevie Wonder on, plus more and more emotion, that you think she’s going to end it all right said John, and then he led the band into ‘Instant people. There must have been a couple of hundred there onstage. Once it used to be John who leaned Karma’. There was this lovely party atmosphere onstage at the end, Lennon right in the middle. heavily towards her musically – but now it appears about the Garden. You couldn’t really sit down to it The Garden was up and singing for a 15 minutes.

REX FEATURES/STARFILE-BOB GRUEN REX FEATURES/STARFILE-BOB that Yoko is leaning heavily towards John. all. It was all such a gas. It was ultra-emotion.

NME ORIGINALS 61 1972-1973

“ hat Madison Square Garden gig,” says John Lennon, nostalgia in his eyes, his hand stretched forward holding a welcome beer, “was the best music I enjoyed playing since the Cavern or even Hamburg.” It’s 1.30am as we slip into the vacant bedroom to talk and escape the congestion of the entire population of noisily setting up its rock hardware in the living room next door. The scene is the Lennons’ spiffy midtown hotel suite 30 fl oors up from the hot sweat of New York’s 7th Avenue and only a mugging distance from Times Square. Down on the street the shrill scream of a speeding police car punctures the conversation. I have been trying to see him for more than a week and he knows it, apologising as he digs deep into a crumpled packet of cigarettes as he sits on the single bed with Yoko at his side. “Man,” says Lennon, continuing the theme, “I really enjoyed that Madison gig.” He peers at me like a contented owl from behind the familiar tinted National Health shades perched atop the bridge of his nose. “I mean, you were there. You could see I was on the trip alright. It was just the same kinda feeling when The Beatles used to really get into it. “Funnily enough I tend to remember before The Beatles happened most of all. Like in Hamburg we used to do this… at the Cavern we used to do that… in the ballrooms the other. “We weren’t just doing an entertaining thing, or whatever the hell it was we were supposed to be. That was when we played music. That’s what I enjoy and remember best about those days. “That’s the same feeling we got at Madison Square Garden with Elephant’s Memory. Stan Bronstein, their tenor sax player, is a real rare one. Perhaps the best since King Curtis, that’s what I say.” Having been at the concert I more than go along with him in regarding it as an event never to It’s 1.30am and John Lennon be forgotten. As the minutes ticked into the fi rst hour of a new day I had seen Lennon push a thick wad talks to in the sanctuary of gum hard into his cheek and grind out a boogie rhythm on his Les Paul Gibson as he screamed: of a New York hotel room. The “New York City… New York City… Que Pasa, New York? Que Pasa, New York”, before a demonstrative subject: music and insecurity crowd of well over 20,000 Manhattanites plus a few b , 30 Septem er 1972, pag mad dogs and visiting Englishmen. It was magnetic. NME e 16 Here, for the fi rst time since the fragmentation of The Beatles, John Lennon fi nally got back to where In the wake of a violent public outcry John and “We just wanna play but at the moment it’s just he once belonged: rockin’ and rollin’, pushing his Yoko, in collaboration with New York’s mayor John a hassle. Paul’s trying it one way, and it might be powerful lungs to their limits and then beyond, Lindsay had proclaimed August 30 a fundraising working for him. He’s got his band together and he’s accompanied by one of the raunchiest street bands day and they were personally responsible for raising just hitting the road and appearing wherever he can. I had ever heard. $350,000 to help alleviate the children’s plight. “The way Yoko and I were doing it was at the When he sat at the piano to sing ‘Imagine’ it was to Lennon opens a new pack of cigarettes and Lyceum, in Toronto and with Frank Zappa at the perfection, and the silence had a magic of its own as explains: “There were all sorts of plans to do a world Fillmore – until we got together with Elephant’s the slow chugging intro of ‘Come Together’ slid out tour and then the US immigration thing started so Memory. All we’re trying to do is just play without of a giant bank of speakers. that had to be shelved. it developing into some weird scene. But it’s almost The motivation behind John onstage “Touring is going to be a big problem. impossible, if you do it a lot.” this offi cial reunion with at Madison It wouldn’t be so bad if we could not take He pauses, looks at Yoko, smiles and ponders on the public was a TV exposé Square home a packet of money his last words. “I don’t know,” he says again, “if we’re by newscaster Geraldo Garden, 1972 which only becomes a prepared to do it a lot.” He continues, directing the Rivera, on the squalid tax problem. The perfect statement at Yoko. She stays silent. conditions suffered by solution would be to do “It’s not because we’re bothered about losing the the mentally retarded it so that we only cover costs. But buzz, but you know you get involved with such children of the upstate then what do you do, when do you hassles as who’s making T-shirts and it soon becomes Willowbrook institution. do it, and who do you do it for? bigger than both of us.

62 NME ORIGINALS 1972-1973

“THE BEATLES HAD a standard to live up to,” admits John Lennon, lighting up yet another four- inch link in an endless chain of battered cigarettes. “And for that reason,” he says, “when The Beatles went into the studio they had to stay in for at least six months. Today I just couldn’t stand to be locked up in a studio for that length of time.” Lennon’s reason is as simple as it is short: “I don’t want a standard to live up to.” This is easier said than done, because the fact remains: once a Beatle always a Beatle. Despite an enormous output of solo material from the four individuals – most from the prolifi c Lennons – the majority still refuse to accept that The Beatles no longer exist. No-one is more aware of the situation than Lennon. Even so the ex-Beatle isn’t fi lled with bitter resentment. Quite the contrary. “You know,” he tells me that muggy night in New York, “when the Beatles cartoons come on the TV every Sunday, I still get a kick outta watching them… it’s fi ne. It’s just like leaving home – after that you automatically get on with your parents.” I bring us back to the present and I ask how much has Yoko infl uenced John, and how much has John infl uenced Yoko? Lennon displays obvious pleasure at the subject. “She,” he begins with an affectionate smile at Yoko, “changed my life completely. Not just physically…” he pauses momentarily, trying to fi nd the right words, “the only way that I can describe it is that Yoko was like an acid trip or the fi rst time you got drunk. It was that big a change, and that’s just about it. I can’t really describe it to this day.” I put it to them that an example would be appreciated and they both choose their new album ‘Some Time In New York City’ as an illustration. Again, John leads off: “If you really wanna know, Yoko writes all her own chords and music completely. If I can get in a riff or something, then I’m lucky. “It’s always hard to hit upon specifi c details, but, for instance, the idea for a song like ‘Imagine’ came out of Yoko’s infl uence regardless of what the format of that song was. Half the way I’m thinking, musically, philosophically and every other way is her infl uence both as a woman and as an artist. “Her infl uence is so overwhelming that it was big enough not only for me to change my life with The Beatles but also my private life, which has nothing to do with how sexually attractive we are to each other.” For Lennon it’s time for another cigarette, for Yoko a chance to offer her observations. “Naturally, my life also changed. Mainly what “At one time Yoko and I thought about going over “So there you are, living in a limbo where you’re we give each other is energy, because we’re both to Ireland to do something, but until we’ve cleared up constantly worried that you might end up owing – or energetic people and when we’re in the company of this immigration thing we can’t leave America. We’re that someone will take away whatever you have left. other people who we might feel are less energetic, kind of trapped. “The people who get into that position are insecure then we have to give more. “On the ‘Some Time In New York City’ album anyway, like me. They get you up there. You collect “For instance, if we’re onstage and John is reading the royalties of ‘Sunday Bloody a song really good, and I have to Sunday’ and ‘The Luck Of The come after him, then that means Irish’ are supposed to go to the civil that I’ve really got to do my very rights movement in both Ireland best. That’s what was happening and New York. during our concert at Madison “Whether we can get it out of the Square Garden. Many of our ‘system’ or not is another thing, but close friends noticed we were we’re gonna try. In the end it gets really sparking off each other.” down to what somebody in our position can do to it, ’cause you’re insecure enough to want to do it. You John interjects with his own interpretation: help others. do it. Then you become surrounded, and scared of it “I mean, I got up from the piano in one number, and “It’s the people who stay around the fringe of the being taken away from you. Jee-zuss, it was like following an act or something. artist who create a situation where the artist is always in “So what do you do? You fi nd you’re going round in Phew, it was the same as competing in the Olympics

MICHAEL PUTLAND-RETNA/GETTYMICHAEL IMAGES fear of being hit, like Mickey Rooney, by the taxman. circles for the rest of your life.” when you’ve really got to box your best.”

NME ORIGINALS 63 1972-1973 Yoko and John hold a press conference after New York’s mayor intervened in their immigration fi ght and (inset) Yoko: “Actually, I think the most Yoko and Elephant’s Memory obvious change has been on my side, which is that my musical style changed. Whereas John is virtually sticking to what he’s always done. But I adopted rock.” She pauses and Lennon takes over the conversation: “It just came to me – for the two of us it was a question of mutual adjustment, with all the joys and pleasures of marriage on an artistic and musical level. However, it’s not just the music, or our lifestyle, or where we’re living. The whole change is happening in the space between us. “Now, when someone comes along and says ‘no’, it can be whatever you want it to be. That’s a very big change to go through. But after you experience it then you loosen. You feel free to do whatever you want.”

THE FACTS BEHIND Lennon’s candour reveal that, at the dizziest heights of Beatlemania, he often lost contact with reality. “That happened many times, but then a lot of people go the same way. Just being, quote, SELF-INDULGENT IS a put-down constantly ‘A Star’, or whatever it was that happened, made it a aimed at John Lennon, and his reply to such criticism little more unreal. So perhaps the periods lasted just is explicit. a little bit longer. “When people say that I’m self-indulgent, it’s only “Look, a working guy will get lost for a weekend, because I’m not doing what they want me to do. get pissed, and forget who he is or dream that he’s so- Simply because they’re still hung up on my past. Lennon now realises it’s impossible to please and-so in his car. Well, it was just the same with us. “If you’ve noticed, when they say such things they all of the people all of the time. “Recently I tried to “But, instead of getting blotto for a weekend, we don’t usually refer to the music. Actually, I got it make my songs uncomplicated so that people could got blotto for two whole months, trying to forget down the other day. People talk about not what you understand them. Now they’re openly attacking me whatever it was that everybody tried to forget all the do, but how you do it, which is like discussing how for writing simplistic lyrics. time. Instead of worrying about who is gonna pay you dress or if your hair is long or short. “‘’ – that was simplistic. the milkman we worried about who was gonna pay “They can say what they want, but the artist knows If I want more praise I can write things like ‘I Am whatever it was we’d gone out and spent. best, anyway. And when you work at such an energy The Walrus’ and songs full of surrealism. “I think that around the time of Help! I began to level, like Yoko and me, then you’re doomed to be “Y’know, there was one criticism of ‘Some Time wonder what the hell was happening, because things heavily criticised.” In New York City’ that appeared in an American were defi nitely starting to get very weird by then. magazine which said something to the effect: ‘Please “But I can only judge it by A Hard Day’s Night. “I COULD NOT,” says John Lennon, a half-smoked write us some images, not the way you’re saying At that time we still had one foot in the backyard.” cigarette hanging from his lips, “put on the fl ashy it now. Make us some images.’ Well, all I’ve got With Marc Bolan today attempting to Xerox the white suit, the lipstick, shout ‘C’mon everybody’ and to say to people like that is this: ‘Get drunk or same kind of hysteria among Britannia’s children play at being Elvis or .” whatever it is you do. Lay on a bed. Make up your that John, Paul, George and Ringo patented a And the man who once successfully played at being own damn images.’” generation earlier, I further enquire if Lennon bleeds a Beatle reasons: “Because I honestly don’t think in sympathy for today’s teenyboppers. I could pull it off, even if I tried. “LIFE’S TOO SHORT,” he says, the urgency in his “I dunno,” he says, “if I feel sorry for these people “Music for me,” he stresses, “is the only thing worth voice almost giving his words a musical scan, “and or not. But I do think about it. suddenly you’re 30, and there’s all The fi rst thing that strikes me these things going on in the world, is the things these stars say in and there’s so much to do that you the musical papers changes so never got around to doing because often. Yer know what I mean, you were doing whatever it was like when they keep on saying, people expected of you. ‘We’re the greatest.’ When I “The point, now, is that I want read about Dave Bowie bitchin’ to say whatever it is I’ve got to say, with Marc Bolan who is bitchin’ with Fred Astaire… communicating. Who you are, what you wear, and as simple as the music I like. And that’s rock’n’roll actually, it’s a bit of a laugh when you’re not doing how the lighting is placed – only tend to interfere. – and to match the lyrics to the music. So now it’s… it yourself. “If the music’s OK, what the hell does it matter ‘A-WOP BOP-A-LOO-BOP/Get outta Ireland’.” “I imagine it’s all down to the fact of the bigger what else is going on? It’s all secondary. It gets in the Just how effective is this brand of politico-rock? you become, the more insecure you feel. I’d like to way.” “I honestly don’t know,” is his immediate reply. think that people could learn from the mistakes He goes on: “The whole glamour, scream thing – “I suppose it looks more preachy than it really is. others have made. But they don’t. It’s like you can’t it’ll always be with us. People jumped on The Beatles I call it artistic. But it’s no more or less than any other tell anybody nothing, ever. and screamed in the same way they’re now jumping artist who may be expressing himself, whether it’s “I can’t learn myself from other people’s mistakes. over T.Rex. It’s what’s supposed to happen. with paints or with music. There’s nobody I can think of where he did that, and “At the beginning it’s very encouraging. And being “Most other people express themselves by shouting that’s where he goofed. You can sing about it, because the non-cynical old cynic I was in those days, I could or playing football at the weekend. But me, here am that’s you own experience, but you can’t expect enjoy having one foot in the King’s Court. I in New York and I hear about the 13 people shot anyone to think along the lines… ‘Oh, so they did “The trouble is, some people feel the screaming has dead in Ireland and I react immediately. And being

that and that happened, so we won’t do that’. to go on happening all the time. Get to that stage and what I am, I react in four-to-the-bar with a guitar CORBIS “You can’t do it. It never works.” it quickly becomes uninteresting.” break in the middle.”

64 NME ORIGINALS NME, 1 July 1972, page 25

Now Lennon’s voice is fi lled with excitement. Yoko smiles as he ups the volume of his conversation, grits his teeth. “I don’t say, ‘My God what’s happening? We should do something’. “I go, ‘It was Sunday Bloody Sunday and they shot the people down’. It’s not like the . It’s all over now. It’s gone. It’s fi nished. There is no more. My songs are not there to be digested and pulled apart like the Mona Lisa. “If the people on the street think about it, that’s all there is to it really – except to say to those people who might be thinking along the same lines as me and Yoko, you’re not alone. That’s like what I was trying to say in ‘Imagine’. “‘Imagine’ was a sincere statement. It was ‘Working Class Hero’ with chocolate on. I was trying to think of it in terms of children.”

WE RETURN TO the topic of ‘Some Time In New York City’ and Lennon reveals: “When we made that album, we weren’t setting out to make the Brandenburg Concerto or the masterpiece everyone always tried to write, paint, draw or fi lm. “There was no intention of that. It was just a question of getting it done, putting it out and the next one’s coming up soon. “We needn’t have done it. We could have sat on ‘Imagine’ for a year and a half. But the things on ‘…New York City’ were coming outta our minds, and we just wanted to share our thoughts with anybody who wanted to listen.” As a composer Lennon is of the opinion that he’s over-prolifi c – so much so that he doesn’t even bother to write half of his material down. He says he owes this characteristic to Yoko, who taught him to relax and unwind. “I’d always heard about writers drying up at a certain age,” he confesses. “I told myself that it’s not true. But now I see how it happens. “You get in a bag… and you don’t realise you’re in it. Then you fi nd you’ve limited yourself, and there’s just nowhere to go. Then you’re stranded. You carry on repeating yourself. Or you just fade away.

IT’S COMMON KNOWLEDGE that John, Paul, George and Ringo have patched up any personal differences of opinion that may have attributed, as Lennon once put it, “to the dream being over”. So what were the chances, I asked, of all four gentlemen suddenly meeting up with each other – instruments in hand – in the confi nes of a recording studio? I tactfully put it to Lennon. “None of us would ever think about playing together until somebody asked us,” was his reply. “Well,” I parried, “I’ve asked you.” Said Lennon: “If George was recording now I’d say, ‘’Scuse me Roy, we’re going over to the session.’ You see, if any of my friends are recording and I’m the mood for it – I’d be over there. “In the same way, if either George, Paul or Ringo called me over I’d go. But it’d never be the same – because I’d be on George’s session. Although I suppose it was always each others’ sessions in the old days. “No matter whose session it was, though, I’d do exactly what he told me. And I’d enjoy it. “Me,” he chortles, “I’m a bit more selfi sh. I’m either doing it myself or I’m not. But I wouldn’t turn down such an offer, because both George and Ringo gigged for me on my fi rst two solo albums. “They did it by choice. Because I asked.” 1972-1973

Wings ’72: (l-r) Denny Seiwell, Linda, Paul, Denny Laine and Henry McCulloch

November 1972, pa n this interview, much-maligned ex-Beatle NME, 16 ge 16 Paul McCartney opens up on the topics that have aroused intense curiosity: his relationship with Lennon, the part played by wide Linda in his career, and his earlier policy of withdrawal from the public eye.

NME: Were you surprised by the BBC’s ban on ‘Hi Hi Hi’? Paul McCartney talks to Alan Smith about Paul McCartney: “Not being quite that thick, we all thought, you know, it might be possible. The story is Lennon, Linda and courting controversy actually only about sex, not drugs. It’s something to sing. I don’t care about the lyrics. Not really.” Maybe it’s impractical to think of The Beatles successful band for ten years – when you split up as a working unit. But could you see yourselves there was inevitably a lot of kind of, ‘He’s like bloody In NME recently John is talking about… musically coming together once in a while? Engelbert Humperdinck’ from the other people in “John who?” “That kind of thing might happen. But really, all the band. I got little remarks like that. it’s down to is the fact that if you are in a job, and “Well, you do think, ‘I’ll bloody show you I’m John Lennon. He’s talking about quite liking you’re treated wrong by the management or by the not, mate – I can rock with the best of them, I’m as the idea of playing with you these days – if you’re government, you can either just go with it and think, complex as any of them.’ And I started, for a period, interested. How do you feel about it? ‘Well, this is life,’ or you’ve got to, like, dig your heels going away from my normal things. Just simple “The story, in a nutshell, is that The Beatles broke up, in and say, ‘Well, I’m not gonna go.’ This is the case things… the funny thing is, it’s all coming back to but didn’t break up any contracts or anything. So all with the Beatles thing. Really, that’s all it’s been down that. Right now.” the Beatle monies still stayed where they all were. to for us. Once that’s sorted, well, then everything’s “All the Beatle rights were still controlled by cool. There’s no telling what might happen then.” Would you regard yourself as an establishment- (Allen) Klein. So that was the reason I had to kind related artist – as having “sold out your generation of stand fast and say, ‘Well, I don’t want him.’ The On the solo albums I felt there was a kind of to the straights”? only alternative for me was to have Klein, and keep raggedness and that everything was being tried. “No, that’s rubbish.” on with the whole thing. You were losing good, solid melodic direction. “So what happened is, we fought the Klein thing, “That’s true, yes. At the end of The Beatles everything How do you feel about the hostility towards Linda and now I think we stand a chance of him giving all was a bit kind of ragged for me, a bit disheartening. from those who resent her presence in the band? of us – all of us – some kind of release. This means we Since that, I think I’m getting more back to what I’m “When The Beatles broke up I just buzzed off with will all get our own royalties coming to us separately. about – melodies, tunes…” Linda, and we just did what we felt like. We didn’t “That was all I wanted. And now, since that’s feel like doing any press, so we didn’t do any. Then beginning to look a bit better, our relations between Some people thought you’d become ashamed of people started coming out with all these, you know, ourselves are quite cool now. They’re quite good. your ability to write good melodies. ‘he’s a hermit’ kind of things. Once it’s sorted out, I don’t see any reason why we “No matter what you say and cover up and hide “Naturally, I could read the papers and I could maybe wouldn’t want to play with each other.” and stuff, if you’re with a band – even a remotely sit there and think, ‘Well, I’m not a hermit. They’re

66 NME ORIGINALS NME, 2 December 1972, page 3

wrong, obviously. I can tell what I am. I’m not living in London any more – but that doesn’t make me a hermit.’ So I just didn’t feel that I had to answer it. “But I’ll tell you – the people who don’t accept Linda are nearly always the people who’ve never seen the band.”

I once heard you described as the Nina & Frederick of rock… “It’s not that kind of thing. It’s only a small role she plays, you know. It’s not as if she’s playing, like, any huge kind of role. “I mean, the main role Linda is playing is that she happens to be ‘my wife’. I mean, that’s the main kind of role thrust on her. I look on Linda, with regard to the band, just as a piano player. She also takes little bits – a harmony singer. There’s no kind of big deal.”

Does it hurt, these snides against Linda – or don’t you dive a damn anyway? “The answer to this question is that it has hurt her in the past – weep, weep. There are things that hurt “Actually, I feel that in a way that we’ve got it over What about the album situation? when someone says them – for instance, when John people like the Stones… although I don’t think we’re “This next album will be very good, I think. I hate to married Yoko everybody said, ‘Bloody Jap’ and if you quite as good as them, yet.” go talking about this, in case there’s 50 incredible ones think that didn’t hurt them, then you’re daft. out at the same time and ours turns out not so hot. “The main thing that’s happened with Linda and I once read you were very much the kind of person “There’s a lot of good stuff on it, some great tunes. me is that, since The Beatles have split, we didn’t who liked to direct operations. It’s a bit more melodic, but it bops.” explain an awful lot of what we were doing. If we’d “With Wings I can do anything I like really. They’re been very careful, like about ‘Ram’ or something, good – they would just do anything I wanted. But in Have you used much added instrumentation? and set up some kind of publicity machine before it fact, we don’t do it like that. We turn up at a session “We have used some added instrumentation, but the all and tuned all your minds into it – maybe it would and we all throw ideas in.” best way is obviously for you to hear it. I think it’ll be have been different. out in February and I think it’ll be a double. “But we just bunged it on your desk and said, ‘Look Are you aware you’re the only ex-member of The “The idea is just to get working, working, working. – love us or hate us’ and a lot of people said, ‘Well, we Beatles still producing his own albums? So it’s all down to a whole load of work, because I felt hate you then.’” “I sometimes feel the need for other producers, like that – doing TV shows, doing work. and sometimes I do use other producers. We used “I read people knocking but I’m Do you now regard Wings as fully “run-in” – and if Glyn Johns on a couple of tracks. But we were a bit telling you, I watch Top Of The Pops just because it’s so, aren’t they long-overdue for British dates? restricted there.” pop. I’d rather watch that than the news any day.” “Well, there’s the British tour in April, and we had our little period of getting it together because you’ve Do you think the George Martin days… Is there a restriction on composing within the band? got to have that. “We’ve just done something with George – just “Oh no – Denny’s got a great one on the next album. “You need to work yourself in. I mean The Beatles the other week. We recorded a track for the next It’s really just that if anyone turns up with a good song, had three, four or five years before we made OK. If it’s a lousy song, then we wouldn’t use a record… we were together as a band.” it. And we’ve got Denny singing one of our “‘Hi Hi Hi’ is actually only songs on the next album. We’re trying to put it I take it that audiences don’t scream at around a bit, so it’s a nice kind of unit. you any more. Any feelings on this? about sex, not drugs. I don’t “The thing about our band is, everyone likes “I like an audience that raves. We had to be in a band. There’s really not much more some goods signs off that European tour. care about the lyrics” to it than that. We’re all from varying parts of “Listening to tapes, it’s obvious we’re globe, and we’re all from varying upbringings. still pretty new as a band. I’m not going to deny that, James Bond fi lm called ‘Live And Let Die’, which We couldn’t be more different people unless we had either, because it’s stupid. There’s nothing wrong unfortunately will not be released for a long time. It’s a few Chinamen in there. with it, nothing to be ashamed of. We are very new. a good track.” “We’re all pretty different. But whatever we’re doing we’re doing it together now. The thing that’s eventually going to tell, obviously, is the music.”

Do you still travel about a great deal? “Oh yeah, not half. Wouldn’t anyone? We go to the Caribbean whenever we can, because that’s incredible. That is like, you know, paradise. Jamaica, that’s very nice. I like peasants. We’re peasants, too, from all corners of the globe, a gang of peasants who want to be in musical entertainment. “This is the whole idea. It’s like in medieval days. A few people just got together and made some music to make themselves happy, and then to make people happy off it. And that’s really all it is for me. “I occasionally want to make some little political statement, occasionally want to do a kid’s song. The main thing is the music. That comes off. If you like “We’re all going ‘Hi Hi Hi’, then you like Wings.” WIRE IMAGE-CHRIS WALTER/POPPERFOTOWIRE on a… European tour”: Wings on the road in 1972 NME ORIGINALS 67 1972-1973 Bolan boogaloo Ringo Starr talks to Tony Norman about fi lming with Marc Bolan, playing for Bangla Desh and making amends with the other three Beatles

3 December 1972, NME, 2 page 17

ingo Starr’s reason for pulling out of the extravaganza was quite simple. He had to be elsewhere… fi lming, a decision that highlights the R switch of emphasis that has governed his career since the disintegration of The Beatles. Now he is Richard Starkey: actor, director and producer. Yup, Ringo’s in the movies. Naturally he still loves music – only a fool would deny that. But he’s got his priorities straight and right now, cameras are more important than drumkits. I went to a screening of his T.Rex fi lm Born To Boogie last week, and cornered him on his arrival just as the after-fi lm party was breaking up. How did the Bolan tie-up come about? “I phoned him up one day and said, ‘Come and see me. I’ve got this idea. See what you think, yes or no.’ Ringo gets And on that particular thing it was a no. behind the lens “But, through that meeting, we got to know each to fi lm Marc other and became friendly. Then I heard Bolan (below) he was going to be fi lmed at his Wembley show. Apple has a fi lm company so I said, ‘Why don’t you let me do it? I’m yer pal.’ And he said, ‘OK, we’ll do it together.’ “After the show, we looked at the footage we’d got and decided to add to it. You see, my theory about fi lming concerts is that you can’t create the atmosphere that’s in the hall. “So I wanted to do some more. We got him to write a few things and set up a couple more days shooting.” “It was nice, anyway, because we had a lot of good Was the general approach pretty loose? pals around.” “Yes. It was just like getting the lads up Ever since Lennon’s Rolling Stone interview, the there and trying to do things. It was a really press has been full of articles relating how The free shoot. We’d get to a place and say, ‘OK, Beatles went through hell, torture etc. Did Ringo we’ll do something here’. Then we’d grab a What’s wrong with that? ever refl ect happily on those historic years? few props and just do what came around.” “I think it gives you that terrible ‘I’m here to be “Oh sure, there were a lot of good times. If you take Getting back to the concert, what came across to appreciated’ attitude. If they want to hear the music John’s interview as that’s where it’s at, then there were me was the friendship and sex in the Bolan/audience they can buy the records and listen to them.” no good times. But if you take them all, you can see relationship. Was that how he saw it? So he enjoyed the screams then? where the good times were. “Well, I’m sure you’re right. Those things were “Oh yeah. If they’d been quiet when I played, “And also John is now saying that there were a lot of there, but it doesn’t really matter what comes across I wouldn’t have known what to do.” good times as well. as long as something does. It’s so “We were all just a bit crazy at the time… boring when nothing comes across. no, not crazy… but you just get into things “But everyone in that audience was Now he is Richard Starkey: and John was into that…” getting something different. That’s He paused and smiled. “I don’t know if why we used all those close-ups, actor, director and producer. that answers anything. I just found myself you know. When he’s up there, for rambling for a moment.” everyone in the audience it’s a different Yup, Ringo’s in the movies What’s really important is the future. scene. We tried to show a few of them. “We’ve all knocked off again. The relationship Different things for different people.” Although Ringo rarely gets up onstage these days, between the four of us is a lot better now. At one time Ringo Starr, as you may know, is no stranger to the buzz is still there. The Concert For Bangla Desh it was really a bit weird because we didn’t know how screaming crowds himself. Was the Wembley show gave him the chance to fl ex his drumsticks again. to handle that scene. For so long it’d been all four of in any way a nostalgic experience for him? “I enjoyed playing immensely. It was a bit weird us together and suddenly it was like… you’re over “Very much so,” he nodded. “They were screaming because it was the fi rst time I’d been onstage there and I’m over here. and shouting and I love that. I think that if you go on for about three years. I was crazy with nerves “But it’s cool now. We’re together again. Not as a and that’s what they do, it’s all right. I can’t take it when beforehand. But if you’ve done your job it’s OK. band. We’re not going to be a band again. But we’re

you go on and they just sit there and listen to you.” You soon relax. together as people, and that’s more important really.” REDFERNS/REX FEATURES

68 NME ORIGINALS he prospect of a Beatles reunion – the subject of widespread T speculation during Hello – what’s the past month – increased this old Ringo up to? week with the news that Allen A Number One hit Klein is no longer managing could easily be Apple Corps. The split opens in store for the the way for Paul McCartney to maestro of rock resume activities with the other drums. There’s a three ex-Beatles – and he is touch of the Marc evidently keen to do so, because Bolans in this he told the NME last week: highly playable “When Klein is out of the way, rhythmic excursion. there is no real reason why we The vocal chorus chant the hookline, piano rumbles beerily shouldn’t get together again.” and Ringo stomps over his snare drum with laconic power. The agreement between Apple It’s hypnotic and effective, ideal for jukeboxes and liable to Corps and Klein’s ABKCO send us all mad by the end of the week. Industries expired on March 31. Chris Welch Melody Maker, 18 March 1972, page 19 It is not being renewed, and an Apple Corps statement issued this week says that – for the present – they will act as their Paul: raising the own managers. Yoko Ono’s prospect of a Beatles reunion management agreement with after Klein’s exit Klein has also expired. A grand ballad from Paul, rather in the

NME, 7 April 1973, page 3 tradition of songs Paul McCartney tells NME...... that turned on the troops in the days of the Cyprus Crisis and other Way is open for manifestations of the ’50s. In a way its appeal is timeless, and it certainly rates among his seemingly Beatles reunion unstoppable flow of classics. The construction of the song is strengthened by a splendid gutty from In a statement issued on his together on the telephone several McCartney has already made Henry McCulloch, which also maintains the mood of gentle behalf in New York, Klein says: times during the last two months. a move towards a reunion by nostalgia. Much fluttering of wings and handkerchiefs as “It is not now felt in the best Speaking at Elstree on the set of writing material for Ringo Starr’s this sails up the charts. interests of ABKCO to put his ATV spectacular, McCartney forthcoming solo album, for Chris Welch Melody Maker, 7 April 1973, page 21 forward a proposal for its commented: “Yes, I’ve been talking which all four ex-Beatles will continued management of Apple to John. I’m not sure what’s going have written songs. Corps and Messrs Harrison, to happen to Apple, as everyone If a Beatles concert were Lennon and Starr. Under mooted, the only these circumstances, drawback would seem to ABKCO has terminated “I’ve been talking to be its location. America its efforts with respect to would seem to be out of McCartney’s fairly its possible acquisition John. I’m not sure the running, as McCartney reasonable solution of Apple Corps. We wish is at present unable to gain to the given Harrison, Lennon and what will happen” admittance to that country problem “Write, in Starr continued success.” because of his drugs less than 25 bars, McCartney’s disapproval of keeps changing his mind. But the conviction. And Lennon would a theme-tune for Klein’s involvement in Apple was only thing that has prevented us presumably be loath to leave the the new James the main factor in The Beatles’ from getting together again has States, as he is currently fi ghting Bond movie” is split. But any ill will is now rapidly been Allen Klein’s contractual hold a deportation order, and he to ‘Let It Be’ for dissolving, and a new rapport has over The Beatles’ name. When would be unable to get back into the first half, developed between McCartney he is out of the way, there is no America were he to leave – though wailing absently and with a curious notion of grammar, and Lennon who have talked real reason why we shouldn’t it is of course possible that, if the about this “ever changing world in which we live in”, before get together.” reunion were to develop, Lennon sitting back to let a 3,000-piece orchestra do a man-in- would accept his deportation. the-street’s impression of . It’s not intrinsically The possibility of McCartney very interesting, but the film will help to sell it and vice resuming his songwriting versa. The B-side, ‘’, is a cute seasonal offering partnership with John Lennon is with the sounds of picnicking families and dads diving into also on the cards. He has signed rivers shouting “It’s lovely, it’s lovely!” S’arright. a new composing deal with ATV. Ian MacDonald NME, 9 June 1973, page 13 And he told the NME that ATV Paul on the set are at present “negotiating with of ATV’s James the other three Beatles”. Paul McCartney special, 1973 NME ORIGINALS 69 1972-1973 RED ROSE SPEEDWAY Paul McCartney & Wings Apple REVIEWED: NME, 28 April 1973, page 16 hen Paul McCartney split, brainstuds around, I for one am bloody best. It’s a big, luscious ballad in back in the long ago when pleased to discover a lightweight record the style of ‘The Long And Winding W The Beatles were swatting that not only fails to alienate, but actually Road’ or ‘She’s Leaving Home’. each other and not a few hard shells were succeeds in impressing via good melodic ‘Get On The Right Thing’ is the cracking under the blows, there were structure, excellent playing and fine weakest track, I feel, because it those who doubted whether he would production. It altogether makes my day. can’t quite make up its mind as ever make a good record again without the First track, ‘Big Barn Red’, displays to what kind of song it really edgy brilliance of John Lennon to offset all of Paul’s natural feel for swing that wants to be. This is followed his more melodic – face it, more overtly used to counterpoint Lennon’s deeper by a homey little song, middle class – tunesmith aspirations. susceptibilities in the, er, other band. ‘One More Kiss’. It’s the ‘Hands Of Love’ and The fact that ducks on can This moves into ‘My Love’, which is one Then comes the Track best thing ‘Power Cut’. sometimes be appealing quite escaped of three tracks that typify McCartney at his Of The Album, ‘Little McCartney’s My main criticism of McCartney’s many critics (who, Lamb Dragonfly’, the album is its lack if the truth be known, were which simply soars. done since the of a real rocker. The more incensed at Paul’s legal Based on a series of Great Demise McCartney who sang ‘Get actions of the time than at 12-string figures from Back’ and ‘’ his music; they fastened their Denny Laine and Henry, the seems, sadly, to have vanished prejudices accordingly). richness of the production totally and I would have liked a somewhat So, with John Lennon cast in compensates for the Beatrix Potter lyrics harder core to set my teeth into. the role of Working Class Hero and, in fact, makes them work even better. ‘Red Rose Speedway’ is certainly the (when he’s even more lower- Turn over and a quickie, ‘Single Pigeon’, best thing McCartney’s done since the middle than Paul) and with the to kick off with. This is followed by the Great Demise, and I also think it’s the best anti-bourgeois chic that then most Beatle-ish track which is ‘When The thing he’s likely to do with this band. Not, prevailed, poor McCartney lost Night’; and then, in turn, by the album’s I hasten to add, because of any lack of out . curio, ‘Loup’, an electronic excursion into talent, but simply because Wings’ original Well folks, this time Paul has Floydland with McCartney on Moog while briefing went no further than this. really done it; he’s really made a Mrs McCartney, Henry, Denny and Denny Paul makes his stand here and, as far as nice record. Certainly ‘Red Rose Seiwell chant. Behind this, Henry and I’m concerned, he’s proved his point. And Speedway’ is lightweight, sure it Denny Laine swap biting guitar phrases. I also think that in the future he’s going to has no intellectual posture. But, It’s something of a filter. I pass. be able to look back on the last three years with all the current heaviness The final track is a medley of four without cringing – which is more than and after-me-the-apocalypse tunes: ‘’, ‘Lazy Dynamite’, Lennon will be able to do. Tony Tyler

LIVING IN THE MATERIAL WORLD George Harrison Apple REVIEWED: NME, 9 June 1973, page 33 here was a time when I about, and then completely forgot. I mean, Pass’ – pleasant, competent, considered George Harrison the how can you slag off a guy who can get vaguely dull and inoffensive. It’s T finest packaged object since together a thing like that? also breathtakingly unoriginal frozen pizza. I marvelled at the economy of Just watch me. and – lyrically at least – turgid, his guitar breaks, I gasped at the way his First, we all suffer from a collective repetitive and so damn holy I phrases underscored a subtle vocal point blind spot when it comes to criticising could scream. The inside sleeve that either Jowl or Porn had just made. His ex-Beatles’ work. Because many of us photo presumably makes a point tonalities shrivelled me; the very quiver found, in The Beatles, a complete raison about material goods, as there’s of his Chet Atkins pick set me aflame with d’être for getting into music in the first a pic of George, surrounded by admiration. I walked tall with my idol. place, we tend to venerate them beyond all his property, (house, grounds, All this has changed. All things must pass. comfortable limits (except Paul McCartney valet, chauffeur, maid, nanny, I’m not sure when I first began who, for some obscure reason, has been Rolls, sports car and friends). (mentally) to assign George the title of required by a heartless public to make it I don’t believe George is World’s Most Boring Man. The suspicion all over again). Result? John Lennon and being hypocritical when, with may have crept in with the dire, ennui- George Harrison have suffered from an one breath, he lays the entire making ‘All Things Must Pass’. almost total absence of reasoned Krishna-the-Goat trip on us and, with the (N Hopkins, R Starr, K Voormann) but the But the unworthiness of my criticisms concerning their other displays the wealth that a load of sound they produce is strangely flaccid. heretical thoughts smote There are post-Beatles product. This people all over the world subscribed to. I doubt if ‘Material World’ would ever do home around the time has affected their music. But it doesn’t help his image as a person of well if it weren’t for George’s antecedants. of the Bangla Desh some heavy ‘Living In The Material wit and intuition. So it is – and I have no doubt whatever concerts – which we names on this World’ is George’s Neither does the music, which limps it’ll sell like hot tracts and that George’ll all applauded like album but second solo album. along from the dreadful opening track donate all the profits to starving Bengalis billy-o, made peace It’s an improvement ‘Give Me Love’ to the final ‘That Is All’. and make me feel like the cynical heel signs to each other the sound is on ‘All Things Must There are some heavy names on this album I undoubtedly am. Tony Tyler fl accid

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RINGO Ringo Starr Apple REVIEWED: DISC, 24 November 1973, page 25 he first thing that strikes you about this which adds a lot of dimension to the track. A more subdued exceedingly fine album is the wealth of talent ‘You And Me (Babe)’, trad jazz orientated, cruises along at T used in its compilation. Harrison, medium pace. It even has a touch of ’s McCartney and Lennon have contributed as famous stabbing riff incorporated and you well as other star names like Marc Bolan, can’t beat that. Klaus Voormann, Bobby Keyes, Nicky Rock on, ‘Oh My My’ is another pretty song, Hopkins, Jim Keltner, Billy Preston, Ringo, this penned partly by Ringo. It’s a mixture Nilsson – even Mrs McCartney. album proves of sugar sweet lyrics and gentle music. With such a fine array of artists to A tasty rocker followed with driving assist Ringo, one would question just you’ve made it drums and wailing guitars that really how much he had to do towards the on your own make the track motor. Would you record, but from accounts he appears to have contributed a great deal. The album believe the dancing feet of Richard opens with Lennon’s ‘I’m The Greatest’. Starkey, MBE, are also included? A Mr and Mrs Ringo: still the It lacks the majesty of John’s voice and the Starr attraction McCartney composition, ‘Six O’Clock’, which also backing, although much more lush, sounds has dynamic duo playing on the track, closes the much thinner. ‘Have You Seen My Baby’ is a album in gentler style. good boogie number – understandably Bolan When The Beatles split, many thought Ringo plays guitar on this track, and it shows. Ringo’s would be the one to suffer most, but this album current hit ‘Photograph’ follows and there’s proves him to be a fine solo talent, worthy of the a somewhat subdued patch filled by George success he’s been achieving just recently. Rock Harrison’s ‘Sunshine Life For Me (Sail Away on, Ringo, this album rightly proves you’ve Raymond)’. The side closes with a souped-up §made it on your own. cover of ’s ‘You’re Sixteen’ from The album is beautifully presented with a the early ’60s. Ringo would do well to release booklet featuring not only the lyrics of each this one as a single – it’s about time we had song, but superb charcoal drawings by Klaus some high-school pop in the charts. Voormann to illustrate the words of each song. ‘Devil Woman’ introduces the B-side in fine, You really couldn’t wish for a more complete lively style. It features some excellent brass, album. Michael Benton

MIND GAMES John Lennon Apple

REVIEWED: MM, 8 December 1973, page 7 poradic admiration for John To me, this man has always been the it’s little use looking in the driving Lennon has never really made complete pop star – wracked by domestic mirror to see how far behind he is S sense: you really have to go strife, impractical in his application of – and comparisons with his previous along with his whole trip to get the ideas into his music business, persistently records are not valid. Thus, this is best out of his work, or even to get experimental and clutching at every piece markedly different from ‘Imagine’, near to knowing what goes on in his of modern gimmicky or musical and so it should be, for to tortured mind. technology that pops up. paraphrase Harold It’s in this context Wilson, 12 months that one must Cynics is a long time judge every new in . work by John will scoff but The raw Lennon: since nerves of he’s forever naivety a Lennon veering off is somehow battered by main roads into America’s country lanes, charming curious logic and track celebrating the announcement by sheer hard-heartedness John and Yoko of a nation called , seem to have spurred freeing the world’s barriers in a beautifully him to write incisively, and simple way. And yet the sweet naivety of the track ‘Mind Games’ is one that it all is somehow charming. Musically or grows into a gem the more it is played. melodically this may not be a stand-out The swirling, insistent backing to John’s album, but if you warm to the rasping nagging vocal makes it a classic. A similar voice of Lennon and, like me, regard theme is contained on other tracks on him as the true fulcrum of much of what this record, with John acting out his came from his old group, then like any well-known role as catalyst for subjective new Lennon album, it will be enjoyable John and Yoko, songwriting. Cynics like me will scoff and even important. Count me in. I’m a aka King and at the statement on the sleeve and the believer. Queen of Nutopia STARFILE

NME ORIGINALS 75 1972-1973

December 1973, pa MM, 1 ge 48

The quaint early ’60s custom of ‘going the rounds’ was revived last week – by none other than Paul McCartney. With wife Linda and baby Stella, he popped up to Melody Maker and spoke to Chris Welch about the upheavals in Wings, the band’s new album and Eric Clapton…

hen the Prime Minister, royalty or a Rear “We enjoyed it eventually. We’re all a bit British, y’know. Admiral makes a tour of inspection of a naval You’ve the different food and climate and stuff, so you’ve got a establishment, there is a fl urry of activity. lot of adjusting to do. It was at the end of the rainy season when Flags and bunting are fl own, everything is we went. We thought it was going to be tropical, warm and given a fresh coat of paint, and the men line- fantastic. It turned out to be a torrential monsoon. up to salute. “And we got robbed while we were down there. Some guys When Paul McCartney, Linda and their baby Stella visited the robbed us – with a knife. We got held up walking out at night MM offi ces this week, half the staff had disappeared, smitten – you’re not supposed to do that. They took our tape recorder by food poisoning and a plate of assorted crisps and meat and cameras and gear. So that didn’t help. sandwiches were offered for the visitors’ delectation. “We were “And then Fela Ransome Kuti accused us expecting lunch,” said Paul hopefully. But he accepted of trying to steal black African music. So this Fleet Street-style kwik-snak in good humour. I had to say, ‘Do us a favour, Fela. We do all In order to chat, of Wings and records and right as it is, actually. We sell a couple of Africa and things, the family outing adjourned records here and there’. He’s welcome to the imperial Melody Maker boardroom, to their music. It’s very nice. I love where great decisions affecting all our lives it and I wish I could do it, but he’s are made. Paul in his bright red drape welcome to it. jacket looked like a cheerful teddy “But he does have a fantastic boy and Linda carefully divided her band , one of the best time between backing up Paul live bands I’ve ever heard. and preventing their child from It’s funky and not very scribbling on the wallpaper. sophisticated. You saw it “We couldn’t think of anywhere in ’s fi lm, but else to do the interview,” says Paul. it didn’t come off at all well “We thought we might as well in the fi lm. come to you. It takes me back ten “There was one and a half years at least, when we used to come weeks of pretty bad vibes. It felt a touting ourselves round, although this bit dangerous and raw and you’re not time we’re not touting ourselves.” sure how you’re going to fi gure. The last time we had heard from Wings, “The press were fi ne, very charming. But they have been riven by splits, when drummer it’s funny what they pick up. They picked Denny Seiwell quit along with guitarist Henry up that I was ‘the one who introduced McCullough, just prior to the group’s trip to drugs to The Beatles’.” to record. What caused all that, and how What lured them to Africa?

were the McCartneys received in Nigeria? “Sunshine,” said Linda. PLUMBER BARRY

76 NME ORIGINALS NME ORIGINALS 77 1972-1973

“We got a list off EMI of all the studios around the world. It’s a big company. We checked on the availability of Lagos and it turned out to be free for the three weeks we wanted to record. So we thought, ‘Great – lying on the beach all day, doing nothing. Breeze in the studios and record.’ It didn’t turn out quite like that. But that was why we went – it was for an adventure. We did seven tracks there and came back and did a couple of tracks and mixed here.” How did they get on with, er, the insects? “Oh, not too bad. It does bother some people. We’re not creepy-crawly freaks. Linda and lizards – great. She doesn’t mind. But somebody else, for instance the engineer (Geoff Emerick) we took out, who did ‘Sgt Pepper’ and ‘Abbey Road’, he couldn’t stand them. So a couple of the lads put a spider in his bed. It was all a bit like scout camp. “The worst a lizard can do is bite you, so we’re not freaked out by that, not like Ringo’s wife who can’t stand a fl y in the room. She has all their positions charted, and if one comes near her, she freaks.”

HAVING JUST HEARD a portion of the album, it didn’t sound at all A frican infl uenced. “It isn’t,” agreed Paul. “Well, it is, but you wouldn’t be able to hear it. Paul entertained the MM offi ce with I know it was infl uenced by Africa, just because of the his bad impression atmosphere rather than the music. In Africa I felt like of you had to come-on. “In England you can lay it back, and be timid and you get away with it, because nobody minds. Out When did Paul fi rst get into playing drums? after The Beatles, because at the time, they weren’t there, you’ve got to be very forward. And there’s no “For years I, like, suggested to Ringo a lot of what he interested in going live except on really big gigs. I was way you can lay on the modern Western liberal crap. might play. I fi rst got into it listening to ‘Sweet Little more interested in playing smallish things and getting So in a way we were infl uenced by the challenge of Sixteen’, where there was a drumbreak around the near audiences again. Like the pub rock bit. the people and country. kit. I would ask Ringo to play some variation on that. “It was selfi sh reasons really, I just wanted to play “Linda thought I had died one night. I was And at sessions I would climb on the drumkit and live! But we got a good British tour out of it and the recording and suddenly felt like a lung had collapsed. start having a go. second half of the European tour was good. And we I went outside to get some air and there wasn’t any. It “In Hamburg one week ’s drummer loved the University tour because that was really was a humid, hot tropical night. So I fainted.” got sick and I drummed for him for the extra cash down home.” Said Linda: “I laid him on the ground and for a week. So I’ve done a bit of drumming, including What kind of market is Wings aimed at? his eyes were closed and I thought he “General market really. We’ll turn was dead!” up at Butlin’s, anywhere people want Paul went to the doctor who advised to listen to some music. We’re not he had been smoking too much. When directed at any one audience. the McCartneys got over their initial “But we’re just quietly looking worries, they found Nigeria was an around for a really nice guitarist and exciting friendly country. But only three drummer. I still don’t know in my of Wings made the trip, What happened to the others? a couple of Beatles tracks, but nothing much that mind yet exactly what I want. “Only Denny (Laine) was with us. You know two I can remember. We always used Ringo because “We just took Jimmy McCulloch from Blue, who’s of them left? Denny (Seiwell) and Henry quit – Denny he’s a real drummer. There’s nothing fl ash to the rehearsing with Chris Stainton, and we did a couple rang up an hour before we left from Gatwick, to say drumming on the Wings album, nothing diffi cult. of tracks with Jimmy in Paris. We’re just playing he couldn’t make the album, so that was panic time. “But I can hold quite a good beat. Liking drums with people to get the feel of what we want, and what “Henry left over what we call ‘musical differences’. anyway, it gave me a chance to fulfi l an ambition.” they like. And it was actually that. We were rehearsing and “We had one track of Linda’s which we tried to I asked him to play a certain bit, he was loath to MOST OF THE songs on the album, called ‘Band include in our albums but it never seemed to fi t. So, play it and kinda made an excuse about it couldn’t On The Run’, incidentally, were written in Scotland, what we’re going to do is a bit like Derek And The be played. I, being a bit of a guitarist myself, knew it at the McCartney retreat. “It’s a collection of songs, Dominos. We’re doing a thing with Linda, not like, could be played and, rather than let it pass, I decided and I’ll leave it to you to say if they are good or not. ‘I am Linda McCartney, come and listen to me, I’m to confront him with it and we had a confrontation. The basic idea about the band on the run is a kind of going to be a ,’ and all this big hype. That He left rehearsals a bit choked, then rang up to say he prison escape. At the beginning of the album the guy she doesn’t want and I don’t fancy either because was leaving.” is stuck inside four walls and eventually breaks out. it’s too pompous. She’s not ready for it, she’s still an How did they make up the numbers? There is a thread, but it’s not a .” apprentice, which is cool because she doesn’t mind. “There was just the three of us, on the album, except Does it apply to Wings escaping from The Beatles? So we’re doing this thing called Suzie And The Red for the orchestral overdubs, which we didn’t play. We “Sort of, yeah. I think most bands on tour are Stripes. And she is Suzie! got to help with the . on the run.” “We’re not trying to hide the fact that it’s her, “One guy, Remi Kebaka, who is from Lagos, How much satisfaction has Wings given the couple but it’ll be like Derek And The Dominos, a slight ironically, turned up in London for a loon and we since its inception? anonymity.” got him on one track playing percussion. He’s the “Got us on the road,” said Linda. “Which is what only other person on the entire album, except for the it’s all about.” PAUL BEGAN TO recall the great days of the orchestra. I played all the drums and bass. Denny “I wanted some way I could feel easy about appearing discotheques, when raving was the nightly routine

sometimes doubles on bass.” live again,” explained Paul. “It was very diffi cult and stars fl ocked together. Did he miss those days? PLUMBER/ROBERTBARRY ELLIS-REP PHOTO

78 NME ORIGINALS 1972-1973

“I feel a lot of the community spirit in rock has “It was not at all true, I was just planting trees. for Brian, so he thought, ‘I’ll sell out,’ and put us with gone, but it’s changed. You meet people for dinner I was just getting normal again and giving myself a good pro agency, which they still are. But we just a bit more. We went out for dinner with Elton John time to think.” didn’t like the idea of being sold. the other night and I see people around studios and Did you feel… abnormal? “Eventually we got Apple and gave it all away, as they ring up. You don’t seem to meet anyone down “Yeah. I’m sure about the time Eric was being says.” at clubs, although if you happen to be at Tramps you called God, I’m sure it got to him. You can’t help it, Did Paul read Richard DiLello’s The Longest might see Gary Glitter, , Keith Richard you do have a reaction, like , against the Cocktail Party, about Apple? and myself looning around. Or Mick’n’Bianca. pressures, y’know? “Yeah, but he didn’t know. It’s entertaining and “Rod Stewart asked me to do a song on what’s “I never used to understand when they used to say, good and it’s about what went on in the press offi ce. supposed to be his last solo album… wink. I don’t ‘What are you going to do when the bubble bursts?’ In fact the book’s almost about Derek Taylor really, think it will be. So I did a song for him and apparently A joke question and we always used to say, ‘Ha, ha, because it’s Derek’s whole personality that Apple it’s really great, although I haven’t heard the track yet. we’ll burst with it.’ I never once took that question offi ce. ‘Oh Paul can’t make it. Tell ’em we’ll give ’em It’s called ‘Mine For Me’. It’s a custom-made song for in. What did they mean ‘bubble burst’? And the Ringo.’ Actually it was only half of the truth. In the him. Those are the kind of ways you meet people now. pressures – what about the pressures? other room, there was all other stuff going on. “He’s cheeky but a nice lad. And being a hack, I’ll “While I could see there were pressures, I couldn’t “It’s a long weird, and involved story, and if anyone write a song for anyone. I always have seen myself feel them. I was just a rocker, doing my business. But ever gets it down, it will be very interesting.” as a hack. That’s why I did the Bond theme, it only if something dramatic like The Beatles breaking up Is Paul completely in control of his own affairs now? has to appeal for me and I’ll do it. I don’t like to be happens, that’s when you can begin to feel pressures. “Not completely, but beginning to be, and I advise ‘a major infl uence on the music scene’, I don’t believe “I don’t know if that’s the problem with Eric, but anyone who’s going to sign up with any agency to and it would be unsafe if I ever did. But I must he should just play and not give a damn. It doesn’t a look if there’s a possibility they can own it. Because say, I still love the scene. We were even thinking of matter anyway. Then you can start to come out with there always is and no-one ever knows it. Particularly opening a club. We stayed up one night in Scotland, music and enjoy things. That’s the way I feel now, so with songs. If you write a good song, I maintain, you and designed it and everything. should own it totally. But no publisher “It would have been a fantastic will let you own the copyright. place. And I must say, hearing the “I’m always harping on about discussion on the Old Grey Whistle ‘Yesterday’ because it is a big song of Test the other night about pub rock, mine and probably the only big song I thought everyone was wet, except I did on my own. Well, I don’t own the one with the fl y-away collar the copyright of that, that’s been sold from Melody Maker. He seemed to actually know that’s why I’m not sweating about turning Wings and lost in the mists of time. Lew Grade owns it. No what was going on. into an almighty supergroup. fault of his, he’s a good businessman and heard it was “Kilburn & The Highroads were on and I got the “One chapter is fi nished now, we just want to take it up for sale. But that’s why I say to anyone new coming feeling the cameras were putting them off and they easy, still do music, still play live.” into the business, check it out with an accountant hadn’t been fi lmed a lot. The singer was trying to Hasn’t Paul now created his own environment, or lawyer. get it on despite the BBC fi lm team and big lights. which he can control more than the old Beatles- “I’d always trust rockers with my money, rather I imagine a lot of gutsy, raw music will come out Apple set-up? than sharks. George, for instance, just gives a lot of of that scene. I’d like to have the freedom to play in “No, that’s just journalese. We were always pretty it away because he actually has got morals. Whereas a pub. I’d still like to play to, say, 56,000 people and in control as The Beatles. People used to say that we certain people tried to put the Bangla Desh concert then the next night go play a pub. were manipulated. We were never manipulated. money straight into their pocket. “I don’t care if it’s Jagger, Rod or Bowie. They’ve “Maybe subtly and in the business sense because we “During two years, none of The Beatles took all got a pub rock band inside them. And why else didn’t know anything about business. anything out of Apple except expenses. All the money would wanna go and do the Marquee came to us once and said, ‘I’m going to sell you to had to go into the company. At least some of the newer that time? Or David? Gigging is the whole trip.” Bernard Delfont,’ although he put it nicer than that. ones are hip to all this. I think owns ‘Bridge But when an artist achieves fame and success, isn’t “We said, ‘Right man, if you do that, we’ll never Over Troubled Water’ and that’s fair enough. there always the danger of a reaction against the scene play another note. We’ll just play ‘God Save The “The old trick is to say, ‘We’ll set up your own – of not wanting to do anything or speak to anybody? Queen’ on every record and see how you like that.’ company,’ and they set one up that gives you small Didn’t this happen to Paul? That was an instance of attempted manipulation rights and, not knowing anything about companies, “Well, immediately after the break-up of The That was a long time ago, about halfway through The you think you have your own company and they let Beatles and not because of any of the other reasons, Beatles. We were big and it was getting a bit too much you name it after yourself and you think, ‘I’ve got my but just because a good band had broken own little offi ce, my own little secretary,’ up, I felt, ‘What am I going to do?’ I needed but if you ever check into it the actual at least a month to think a bit. I went into money isn’t coming your way, and you’ll a period of what everyone called being a be getting like fi ve per cent.” recluse, a hermit in isolation. All sorts of Meanwhile Stella was growing impatient little snide articles appeared saying, ‘He’s and bored the with MM conference room. sitting up in Scotland, looking into his She let out a petulant yell. mirror, admiring his image.’ “Stop that!” warned Dad. “Do you want to go to bed? That’s the ultimate deterrent y’know.” Paul, Linda and Stella decided it was time to end what had been a fascinating and surprising interview. But not before a tea lady had burst in, ostensibly looking for cups, but actually taking the opportunity to embrace the couple. “Thanks for all the pleasure you’ve given us,” she said. “Well,” smiled Paul through his last Denny Laine and new recruit egg sandwich, “we must come and do Jimmy McCulloch this again.”

NME ORIGINALS 79 BOB GRUEN-STARFILE TER TH CHAP REE

JOHN Letter to Todd Rundgren The “lost weekend” Onstage with Elton John ‘Walls And Bridges’ ‘Rock’n’Roll’ ‘Stand By Me’ PAUL ‘Jet’ ‘Junior’s Farm’ Wings’ UK tour ‘Listen To What The Man Said’ GEORGE North American Tour ‘Dark Horse’ ‘Extra Texture’ RINGO ‘Goodnight Vienna’ ‘’ 1974-1975

82 NME ORIGINALS 1974-1975

NME, 23 February 1974, page 20 BAND ON THE RUN Paul McCartney & Wings Apple REVIEWED: NME, 19 January 1974, page 12 he ex-Beatle least likely to denies any conscious parody re-establish his credibility and in this tune, but I has me T lead the field has pulled it suspicions about that. off with a positive masterstroke of an On the second side, there’s album entitled ‘Band On The Run’. ‘’ which is a pleasant From the cover, depicting Paul, but insignificant piece with Linda, Denny Laine, James Coburn, one of those ‘White Album’-ish Christopher Lee, Michael Parkinson, descending sequences. and John Conte in convict ‘Picasso’s Last Words (Drink To costume up against a wall, right Me)’, however, is the track which through to the closing reprise of the recalls The Beatles most exactly; title track, ‘Band On The Run’ comes more because of its production on as one of the best albums of ’73, than its content. The way the and, with the possible exception of spoken voices are used behind that Lennon’s ‘Plastic Ono Band’ album, lazy synthesized … oh, the best solo performance of anybody it takes me back. who used to be in The Beatles. From there on, we’re simply The album was cut in Nigeria with a basic left with ‘Nineteen Hundred And personnel of three: the McCartneys and Mr ‘Band Eighty Five’, which has Paul dusting off his ‘Lady Laine all their asses off. Howie On The Run’ ’ voice and which rocks like a muthuh, Casey assists here and there on Professor Sax’s intercut with of ‘Jet’, ‘Mrs Vandebilt’ invention every so often. The range of mood is comes on as and ‘Band…’ itself. startling: the cool spaciousness and straight- one of the best As you may have noticed from the almost ahead drive of ‘Jet’ contrasts beautifully with albums of ’73 unprecedented brevity of the above comments, the nightclub folkiness of ‘Bluebird’ and the ‘Road ‘Band On The Run’ is considerably easier to listen To…’ feel of ‘Mrs Vandebilt’. But the track that’s to than to write about. So… hey, I nearly forgot. gonna be the conversation-piece at every café society For a real revelation, listen to Macca’s wine and cheese party this season is ‘’. work. He uses it like an instrument, and not like an electric It sounds exactly like Plastic Ono-period Lennon, and some whoopee cushion. uncharitable souls might suspect it to be payment in kind for ‘How ‘Band On The Run’ is a great album. If anybody ever puts down Do You Sleep?’, although the parody element is extremely good- McCartney in your presence, bust him in the snoot and play him natured, right down to the Primal Whimper at the end. McCartney this. He will thank you for it afterwards. Will they won’t they? NME, 23 March 1974, page 13 here’s no smoke without fi re. from leading US impresario David That’s what many people 20-1 Beatles to re-form (as The Beatles) Geffen. With much of their income tied are saying about the crop of on a permanent or semi-permanent up with legal disputes in recent years, T “Beatles reunion” rumours basis; 15-1 Beatles to record together (as this vast sum could prove a very real currently circulating throughout the The Beatles) on a permanent or semi- attraction. If it happens, then betting music business. Well, maybe so – but permanent basis. on Beatles live dates would where do you draw the line between 10-1 George Harrison and Ringo Starr shorten considerably, because rumour, theory and just plain fi ction? to tour America this autumn, with Eric Geffen could be the one man Speculation has been rife ever since Clapton and 20 other musicians. to talk them into it. the foursome’s personal vendettas 4-6 Beatles to appear were healed by the departure from Speculation has regularly as guests on the scene of Allen Klein; John each other’s solo albums. and Paul individually made off- been rife ever since The odds-on favourite, the-cuff remarks expressing their simply because it is the The MM Glee Club, relief at the time. the departure only prospect to have consisting of the massed So far, not one word of been offi cially admitted singers of the sub- offi cial confi rmation has been of Allen Klein by Apple and The Beatles editing department and forthcoming. Yet the Beatles themselves. combined ace reporters rumours have been fl owing at an 8-1 Beatles to get together for a major That, then, is the list of down ballpoints to average rate of one per week since the one-off appearance this year, and runners in The Beatles Stakes join in the chorus with beginning of this year. occasional concerts thereafter. at present. There could be one Ringo on the old Johnny Due to this spate of wishful thinking 2-1 Beatles to record at least one new or two late additions to the Burnette hit. Kazoos concerning The Beatles’ future plans, album together. Odds here have fi eld. But in any event, it’s not help out on Richard some bookmakers are quoting odds on narrowed appreciably after the fi rm easy to pick a winner. From Perry’s simple but effective production, and it should possible future developments. This is offer of a $30million advance to The all accounts, even The Beatles hit the chart ’ere dawn. how the betting stands at the moment: Beatles for just one album, coming aren’t sure what will happen. Chris Welch MM, 9 February 1974, page 16

NME ORIGINALS 83 1974-1975 Should The Beatles

eatles or Beatles? To be or not to be, that is the question. Two years after John Lennon was singing “I don’t believe in Beatles” something totally unexpected has happened. Even six months ago to have suggested that the fab four would have come together B in any form constituted an invitation to the funny farm. But then everyone was taken by surprise when Dylan announced his mammoth American tour with The Band. After that, one realised, anything was possible. And so perhaps it wasn’t totally unexpected when Paul McCartney said just before Christmas, that he wouldn’t mind working with Lennon again in some capacity on a casual basis. From thereon the rumour began to grow, and reports were soon emanating out of New York that all four ex-Beatles had been there for legal talks. The feeling was that now Allen Klein no longer looked after the interests of Lennon, Starr and Harrison, the way was open for a re-formation. In March the complicated fi nancial situation was improved by a court settlement of monies, and any day now lawyers representing the four men in New York are expected to announce the dissolution of The Beatles’ legal partnership. This would clear the way for them to re-assemble in some form, though whether it would merely be a one-off gig, a tour or an album is anybody’s guess. Finally in the past two weeks news arrived from Los Angeles that Lennon and Starr had rented a house in Santa Monica and had began recording together. They are working on an album for Nilsson. However the big event had already occurred. A month ago Lennon and McCartney had met in LA when Paul was there for the presentation. The story was given substance by the fact that no offi cial denial was released by any of the four ex-Beatles. news, in fact, is that all four of them are in Los Angeles and holed again? I really don’t think it would be went into the studio separately to up at the Beverly Wilshire hotel, while ensconced at the Beverly Hills are John an anti-climax at all. I think it would record. What they’ve done since is Eastman, who handles fi nancial affairs for McCartney, and Bill Graham, who be amusing to see how the younger only a progression from that. It’s no would be the natural person to organise any such Beatles reunion. people reacted to them. I can’t imagine use trying to recapture an era that’s MM decided to take the story to the and to ask them what The Beatles producing teenybop stuff, gone, the mid-’60s can never return. they thought of the possible Beatles re-formation. Opinions were mixed. Still, but you never know!” So why bother?” heartening to fi nd that no-one said, “Beatles-who?” “It would do them good to write NODDY HOLDER & BRIAN CONNOLLY, DAVE HILL, SLADE: SWEET: “I’d like to see together again” Brian Connolly “We wouldn’t jump in The Beatles together. the air if The Beatles I don’t know if they’re TONY BARROW, FORMER DEREK TAYLOR, got back together but getting musically sterile or BEATLES’ PUBLICIST: “No, their FORMER APPLE PRESS perhaps it could be nice. Really, it not individually, but it would do them individual talents are still there, so MAN: “I never think doesn’t bother us and we’re not that good to be writing together again. what’s to be gained by putting them about it, really. Probably, concerned about the idea. It could be “They’ve churned out some brilliant back together again? if I saw them onstage it a bit disappointing.” stuff before, so why can’t they do it “During the latter period of The would be fantastic, but they wouldn’t Beatles, it’s no secret that they often do it that way. There’s no enmity JERRY SHIRLEY, : between them, but there are other “Yes, I’d love to see them back together. things, although I have no doubt that The only reservation I’d have is GEORGE MARTIN one day, and in a way we presently whether they’d make it together on a “It would be nice to see The Beatles get can’t envisage, the four of them will personal level again. I think if they did together again, but I could never see appear onstage together. And I’ll pay get back together then they ought to them getting together as The Beatles. £100 a seat to see them.” tour as well. They’d fi nd conditions I was with John in Los Angeles one have changed a lot. On their tours, evening last November, and he said at , KNEW THE even the last one, things were so that time he was sorry he never saw Paul. BEATLES IN HAMBURG: “It would archaic, but now the whole aspect of But they’ve met since, of course. be a very good idea for The Beatles to touring has advanced amazingly. “I don’t really think they would get get together again. I can’t understand “It’ll be good for the whole business if together as the group that was – they why they ever separated. Maybe it was they get back together. They’ve always have become so strong as individuals. because of a woman! been a sort of yardstick by which other But they might just play together for “But seriously, I think they still groups measured themselves.” old times’ sake – for a one-off event have a lot to offer people. They would like a charity. But… nice to probably want to try something new, think of them being but I think people would like them friends again.” to do some of their great songs again – like ‘Yesterday.’ They wrote some very attractive songs.”

84 NME ORIGINALS 1974-1975

April 1974, come together? MM, 27 page 38

GEORGE MELLY: “It will be a good thing if it produces good music and a bad thing if bad music results. They have all produced interesting records on their own, after all. But if they get together and the results aren’t very good, I suppose it will be an indication that the nostalgia gap is about to vanish up the hole in the middle of an LP and that soon we’ll be expected to feel nostalgic about next year.

CILLA BLACK: “Each of The Beatles has moved on to new things. We still have the group on records, just as they were, but I’m sure they prefer to work separately now.”

DAVE COUSINS, THE : “While I’d be interested in having another Beatles LP, it would be better to leave the legend alone. It could be “I’d be rather knocked out! When like when re-formed – the they broke up they were really resulting album was disappointing,” getting into some amazing music, like ‘Strawberry Fields Forever’. PHIL LYNOTT, THIN If they do get back they should LIZZY: “It’d be good. I’d “They could never have the go on from where they left off.” be interested to see if they could still play together. same impact” The rock scene today : misses the excitement of The Beatles.” : ANDREW MACKAY, : “It would knock me out “I think it’d be a good “Presumably, if The Beatles re-formed, if they got together again. , : “I’m on idea – at least it would it would only be for an album, and not I don’t know whether the horns of a dilemma. It’d be great keep Ringo employed. with a view to life as a working band. they’d have the same to see them back together again, but I’ve heard he’s been Also, if they re-form, it’s highly unlikely impact now but individually they’re at the same time I would hate to be trying to get a job as the janitor at the that any resultant album would feature turning out pretty fantastic things. disappointed. It would be nice to have Hollywood High School.” just the four of them: they’d almost “They’ve come through the whole Lennon and McCartney together again certainly incorporate other musicians. scene so perhaps they’d like to get back in some way. Lennon seems to have ALAN WILLIAMS, MANAGED And to that extent, it’d be a somewhat to the basics again.” lost his direction, while McCartney has THE BEATLES PRIOR TO BRIAN spurious re-formation of The Beatles. found himself. It’d be interesting to see EPSTEIN: “I don’t think there’s even “Most of their individual solo work BIG JIM SULLIVAN: “I’d like to see it, what they’d do now.” a chance of The Beatles re-forming. has been quite good, but clearly if they but I don’t feel they could contribute as But if they did I’d immediately offer come back they’ll have to better recent they did before. I’d like to see Cassius GERRY MARSDEN: “ I don’t know my services as manager. efforts to make it worthwhile. The Clay get the world heavyweight title if it’s true, but if they do it would be “If they did come back it could only idea of them re-forming is quite back, but I doubt that’ll happen, either.” sad. They could never have the same be good for the music world, just so interesting, but not extraordinary. impact as they did at the start – it long as they confi ned themselves to the Certainly not as interesting as Roxy : “Yes, if they might spoil a beautiful myth. recording studio.” Music re-forming.” want to, not if they don’t. I’m not being “The Beatles were so big – much funny; that’s just how I feel.” bigger than anyone else, including us. It wasn’t so diffi cult for me – it was ROGER McGUINN BOB HARRIS: “One of the things always Gerry & The Pacemakers, and “It’ll be very interesting whatever about them that was good was the it was fairly simple for me to acquire a happens. I’d like to see what they’d chemistry. That was absolutely right, new group which is much different to do but I hope it’s not an anti-climax, and once that side began to go wrong my old Pacemakers. which was what people thought about the music just started to fall apart. So “Not so with The Beatles. They the Byrds album we put out last year. the relations between Lennon and were an entity. What they did was “Yeah, I’d like to see them do it, McCartney are an important factor in something they could not be expected especially as I stuck my neck out to them coming together again. to repeat. Particularly as, since the do something similar. It’d be great if “If it’s just being done for fi nancial break-up, each has gone his own way. they knocked everybody out. They’d reasons, I don’t think I’d condone that “When they happened, the whole have to be starving again, though, for at all. If they came together because concept was new and refreshing. something other than money.” they really wanted to then I’d say I’d If they could repeat that love to see it. It would appear it will be

REX FEATURES it would be incredible.” just one-off for a lot of money.”

NME ORIGINALS 85 1974-1975

86 NME ORIGINALS 1974-1975

NME ORIGINALS 87 1974-1975

he occasion was a special opening night at the Troubadour to celebrate the Smothers Brothers’ 15th anniversary in showbusiness. And the audiences T for each of the night’s two shows were studded with celebrities – like Paul Newman, Joanne Woodward, Linda Lovelace and Helen Reddy. The evening marked the fi rst time Tom and Dick Smothers had worked together in several years and a lot of “friends” turned out to lend support The fi rst show went well, and more than the usual share of photographers were on hand to snap sellable pix of the celebrities. I was sitting in the front bar between shows talking with some friends when John Lennon, Harry Nilsson and their party came in for the second show. Lennon was with his new Oriental girlfriend (or, as a colleague remarked cruelly, “the 1974 Yoko”), and we spoke briefl y before he went into the showroom. He was cordial and seemed in reasonably good spirits – hardly like the man who would be carried out kicking and swinging less than half-an-hour later. I was not in the showroom when the commotion began, so I must piece together the fi rst part of the story from eyewitnesses’ accounts. It seems that Lennon began drinking rather heavily, singing before the Smothers’ show began and generally insulting the waitresses with obscene remarks. After the show started, he refused to quiet down and began throwing insults at the performers. At one point, actor Peter Lawford, seated near Lennon, complained to the management about the former Beatle’s conduct. So John was politely asked to quiet down. Instead of complying – eyewitnesses claim – Lennon persisted with his heckling. His conduct apparently became so obnoxious that Tommy Smothers stopped the show and commented: John Lennon with Harry Nilsson: everybody was “There’s a narrow line between bad taste and talking about them vulgarity, and you’ve managed to cross it.” And that was when the real 3 March 1974, trouble began. NME, 2 page 13 The Smothers’ manager, Ken Fritz, allegedly rushed over to Lennon’s table, grabbed him by the lapels of Lennon’s night his Scotch plaid jacket and told him rather succinctly that he’d better be quiet. In rapid response, it’s claimed, Lennon hauled off and punched Fritz in the face. club tantrum Fritz returned the blow while Peter Lawford tried Deportation as “undesirable alien”? From Chris Van Ness in LA to pull a waitress out of the way, but not before she took John Lennon was by this time raving like a maniac. Kenny St John was saying, “Oh, so that’s who it was Lennon’s second punch in her ribs. Then Lawford Safely having removed him from their club, the I threw out.” The female photographer was looking entered the scuffl e momentarily, retiring after Troubadour employees simply left Lennon on the for a phone to call her lawyer. And the parking fi ve Troubadour employees charged in to carry sidewalk with Harry Nilsson and his friends, where lot attendant, who was totally innocent, was just Lennon out of the club – but not before his glass the former Beatle then got involved with three beginning to realise what had happened. smashed against the wall, cutting photographers, one of whom claims Shortly after the fracas, I spoke with Troubadour several people. Lennon poked her in the eye. club owner Doug Weston, who told me he was The show had come to a His friends managed to shepherd seriously considering taking out a legal injunction to complete standstill, with all eyes him to the parking lot, where he prevent Lennon from ever entering the club again. focused on the former Beatle. clashed with the parking attendant But perhaps the most telling quote of the evening As ten or so people came several times before being driven came from the waitress who took Lennon’s second charging out of the showroom away from the scene. punch. Still visibly shaken an hour after , I noticed Lennon in the Back at the club, an obviously commotion, she told me: “It’s not the pain that hurts; middle of the commotion and shaken pair of Smothers Brothers it’s fi nding out that one of your is a real asshole.” followed the melée out on to were fi nishing their show before John Lennon’s Troubadour “performance” was the sidewalk. a stunned audience. Doorman not the fi rst alleged incident of violence involving

NME ORIGINALS May Pang, aka 88 “the 1974 Yoko” 1974-1975

the former superstar. There have been several reports of fi stfi ghts at recording sessions and confrontations of a lesser nature in other clubs. Several weeks ago he was asked to leave the Troubadour when he showed up wearing a female’s sanitary napkin taped to his head and proceeded to cause a commotion. At that time, Lennon left the club without argument or violence. In short, there has been much talk here in Los Angeles (where Lennon is reportedly planning to settle on a more-or-less permanent basis) that “something is wrong with John”. Many have speculated that his break-up with Yoko is the cause of his violent behaviour (coincidentally, John and Yoko’s fi fth wedding anniversary is 20 March), but it seems to me that it MM, 28 SEPTEMBER 1974, PAGE 80 must be something more pronounced than that. At first I thought it was Allan Lennon’s behaviour – as I witnessed it last night Jones talking about John – was that of a spoiled child throwing a temper Lennon, so I was on the point tantrum in order to be acknowledged. It’s no secret of communicating my disgust that his career has sagged since ‘Imagine’, and even when I realised it was that Yoko has received more press recognition than he has-been Todd Rundgren. It’s has in recent months. a measure of Mr Rundgren’s I also have to remember an interview published IQ that he finds it impossible to express himself without by Rolling Stone magazine a couple of years ago, using expletives. in which John recounted stories about Paul Proof, if that was needed, of McCartney and himself crawling out of German his banality is his comparison brothels because they were too drunk to walk of Lennon with ex-president Mr during the days before The Beatles had achieved Nixon. Both, he says, represent any real prominence. certain ideals, but at the same time are really only interested in feathering their own nests. I followed the melée Oh come on, Todd baby, there’s a good boy – don’t talk such clap-trap. It’s a bit like onto the sidewalk. saying you can’t be a socialist without being poor. Sure, Lennon was raving Lennon’s rich, because we made him so. like a maniac At the same time, why shouldn’t he spout about Some NME readers may remember a brief feud anything he likes? After I had with Lennon (in the form of published all free speech isn’t the prerogative of just the letters) in NME about 16 months ago. When under-privileged. I fi nally met John and Yoko about a year ago, we Rundgren thinks that both laughed off the feud and the three of us sat up Lennon is “a fucking idiot, in his hotel room ’til four in the morning talking. man”. Well, if every idiot I mention this only because I had not expected to could write albums like like Yoko, but left thoroughly entranced with both ‘Imagine’ and ‘Mind Games’ of them. To me it was quite clear that Yoko was you could charge money to the stronger of the two and I remember thinking get into asylums and make a fortune. R Fairbrass, – much against preconceived ideas – that this really Abbotswood, Furzfield Road, was a good marriage. East Grinstead, Sussex But now John’s ego-anchors are gone, his marriage appears to be on the rocks, and his career Yes, OK Mr Rundgren, appears at its lowest ebb for ten years. Perhaps there I agree that John Len non is lies the understanding for his actions of late. no revolutionary. Lennon is More objectively, when legal charges are brought no more revolutionary than against Lennon (as they almost certainly will a schoolboy who gives teacher be) for his actions last night, he will probably be a V-sign on his last day at school. But I can’t agree that only asked to leave this country. Lennon is living here non-violent people have left on probation (with an expired visa) based on an their effect on the mind, and appeal of his immigration status. are household words. American The government was not too generals aren’t the only example anxious (because of his British dope busts) to have going; try being a little more him here before now; and after charges are brought international. Hitler, Stalin, against him, he will most certainly be branded an Lenin and Genghis Khan for “undesirable alien” and deported. instance. NB How about General Tish, Bolton Road, There is no doubt that John Lennon is a very Custer? Denby Dale, Yorkshire talented man. He is also apparently a very troubled man – and the resulting waste of that talent, coupled

REX FEATURES/CORBIS with his self-destructive attitude, truly bothers me.

NME ORIGINALS 89 1974-1975

November 1974, MM, 23 page 47 Ringo Starr has beamed down in Los Angeles, where he talks about his new album, working with John Lennon, why he wants an Oscar and explains why on earth he’s wearing that spacesuit

90 NME ORIGINALS 1974-1975

ould you tell me about the promotional fi lm you are doing which is coinciding with the new album, ‘Goodnight Vienna’? GOODNIGHT VIENNA

“The spacesuit I’m wearing on all Apple the posters and pictures around Ringo Starr here is from the movie, The Day The Earth Stood REVIEWED: NME, 23 November 1974, page 18 Still. I’m a science fi ction freak and I thought it would ne good album deserves better than the stuff he’s be a nice cover for the album with my head in place another, they say, but been writing for himself of Michael Rennie. The hardest thing to do is to fi nd Othat’s as maybe. What of late. a cover and a title for an album.” we have here is John Lennon’s ‘Snookeroo’ and maxim of “never change a winning ‘Occapella’ are both fine. The Are any of the ex-Beatles on the LP? formula” put into practice. first, by Elton John, is full of “John is. He wrote a song and played on three. He ‘Goodnight Vienna’ is constructed pace and vitality and even wrote the title tune. It’s a Northern expression and along the lines of its platinum includes two worthwhile an old song, which means ‘I’m getting out of here’.” predecessor, ‘Ringo’, and he’s lines from retained the same cast for his – “Oh pigs will fly and the Would you like to be nominated for an Oscar for second series – Klaus Voormann, earth will fry/When they get That’ll Be The Day? Billy Preston, Jim Keltner, Harry me doing honest hours”. “You bet your life I do. You’re supposed to get better Nilsson et al in regular attendance. The other is an Allen jobs if you win one of them.” One crucial difference, though, is Toussaint composition that he has lost the services of both with a jerky, feeling now the album’s completed? Paul and George, and so the album relaxed melody It all whether or not “Now, very good. At the end of the album – as any loses the invaluable aura of being that fits Ringo depends on you’re allergic to artist who is honest will tell you – at the end of an an ersatz Beatles album. like a glove. On whether or not Ringo’s voice. album, you begin to hate it. You’re with it for so long, Probably because the style of side two, Hoyt This sort of you don’t know what’s happening. You should put the album was predetermined Axton’s ‘The No- you’re allergic to 50/50 album will it away for a while like I did last week. I’m listening by the success of ‘Ringo’ the No Song’, where Ringo’s voice only reinforce the to it again now and it’s really good. I think it’s better achievements this time around are Ringo and Nilsson prejudices of those than the last one. It’s more like my album. We had a rather slender. For a start, Ringo’s ham it up splendidly, who believe that Ringo lot of stars on the other one. Then we got involved own compositions are noticeably is first-class. is not worthy of serious with ‘are we getting together again?’ which we’re not, inferior. There’s nothing comparable So, if you deal in percentages, it’s consideration. With two successful just because the other three were on it. Overall, the to ‘Oh My My’ or ‘Devil Woman’. an acceptable album; as follow-ups albums, ‘Beaucoups Of Blues’ and album is more like my album.” John’s new song, the title-track, is go, standard fare. The cover’s pretty ‘Ringo’, behind him. Pity he missed very good indeed and considerably good – I guess it all depends on the hat-trick. Bob Woffinden Marriage and divorce for Ringo Starr. George had some interesting comments on the institution? “If you get married you end up getting divorced… How about your own solo identity? You recently country,’ then we would have been too busy just to ha ha. No, I’m not getting divorced. Who can tell. said that it took you the longest to get things be able to make records and infl uence people in the There’s no guarantee once you get married. My wife together, getting out of the slump. way we did.” is in England with our three children. Someone has “Because I don’t write that much and John, Paul and to look after them.” George did most of the producing, I was just a player. Did The Beatles change grooming standards? I didn’t know what to do. I waited, then Paul made “If you look at early pictures of ourselves with long How about the tax situation in England and you? an album by himself. Everyone was wondering and hair we had nothing, less than you. There were people “I like to be poor. It’s bad, but still for me it’s the only I was the one who wondered longest.” around who had long hair before we did. I had my place. I’m not one of those people that any place you hair longer before I joined the group. It was combed hang your hat will be home. It’s where my shoes are.” What have been the highlights of your career? back, then suddenly it fell forward, and everyone, “It’s very hard, there have been a lot of them. While especially in America – where it was crew-cut city A lot of people like Keith Moon, Deep Purple, and you’re doing it you think, ‘This is gonna be it, like, – they all said, ‘These long haired creeps.’ Look at ELP are moving to America. Would anything the Palladium,’ we thought, ‘God, we can’t top this.’ everyone now. If you’re going to judge someone by fi nally drive you across the Atlantic? Then you do The Show, and you think, the length of their hair, you might as well forget it.” “I don’t know, it’s tough. It’s like right now, I don’t ‘God, this is amazing’. Then you do Shea Stadium think I could be happy , or Of the four ex-Beatles, who are someplace else. If you come to America you closest with? you’re only going to make 20 per cent “Right now, I’d say John.” more than you make in England. The taxes are just that much lower. I couldn’t John Lennon is having a lot of stand living on some island for the rest problems over here. of my life, I’d get sick of the sand. I just “I think he should be allowed to enjoy it here, I’ve been here fi ve months.” and you think, ‘What’s happening?’ Then you stop stay. Give the guy a break. What’s he done to anybody? touring and make a lot of good records. Sullivan saw Have you heard his new album, ‘Walls And Bridges’? You’ve been asked this 100 times, but is there any us in Sweden before anyone here. We had a lucky It’s the best album in the last fi ve years.” chance of you getting back together as The Beatles? break. He just booked us, we had no records. We were “No. How can we get together if George won’t play going to be fi rst on the bill, then when we arrived it Do you have a band put together? with Paul? We’re not. We are having a good time just fell into place. No-one could plan that.” “A semi-set band with Jim Keltner, Klaus. They are on our own and say hello to each other. We all work like the two on everything. . Touring together, but not as The Beatles. There’s no chance of Did you ever realise how important The Beatles right now is not my cup of tea. I won’t say I’m never us getting back together. Paul McCartney, he’s got a were on popular culture? going to tour. For the next 18 months, I have no plans heavy album out, ‘Band On The Run’ did very well “I think that’s why we did it. If we were involved with to tour. I’m doing another record, when I get into it.

REDFERNS for him. We’re all into striking out for ourselves.” ourselves in something, like, ‘We can take over the I never like to plan too far ahead.

NME ORIGINALS 91 Lennon onstage with the bling pianist Elton John, 28 November 1974

Lennon’s decided to put out a ‘no-nonsense rock single’. Everything’s played and recorded with real class – including Junior Walker imitations and the less predictable rhythm banjo. The words are pretty permissive for Lennon (ie no finger-wagging) and could well have been written by one of the more affluent folk artists. As many people seem to feel that the world needs more no-nonsense rock singles, I expect this’ll be very… popular. Robert Wyatt NME, 5 October 1974, page 19

This has been described by Linda as a “real rocker”. Seems a fairly accurate assessment to me. ‘Junior’s Farm’ may lack the same kind of ruthless determination of, say,

‘Jet’, which in some ways December 1974, p MM, 7 age 54 it recalls, but it drives along with a reasonable amount of power. It is, of course, the first Wings release to feature new members Geoff Britton and Jimmy McCulloch. The latter, especially, is outstanding, pulling off a couple of Elton – oh what neat solos. ‘’, on the B-side, is an unmemorable piece of hokum, inspired by a night out in Nashville. John Lennon returns to the stage for a memorable Allan Jones MM, 2 November 1974, page 17 show with Elton John at Madison Square Garden ear all, Elton John had announced And then the spotlight switches I wish you him, in fact, by saying “as it’s to Elton – it’s his show after all could have been Thanksgiving” – last Thursday to – for his newest hit, which I don’t there the night you, dear English readers – “we have to tell you is ‘Lucy In The Sky D John Lennon thought we’d give you a special With Diamonds’, that old Beatles played Madison Square Garden. present, so here’s something to thing. But he did it bloody great The moment he walked onstage, give thanks for.” And John had and he was really steaming with Oh yeah, the lyrics are so in a black suit and those round trooped on, big waves and nice, Lennon coming in on the chorus, heavy: “Ring out the old, shades, he had the audience by even teeth. Half the audience had and the crowd swelling in a great ring in the new” (repeat its great roaring throat, a noise wind of it already. They probably night-time choir, as Kenneth roughly 20 times), “Ding like Liverpool supporters at a cup read it in Melody Maker (on sale Wolstenholme might’ve said. dong ding dong” (repeat fi nal as the team emerges from the around Times Square if you ever Bloody great. You’d have loved it. until hoarse) and that’s tunnel. Even he was overwhelmed. about it. We’ve come to You could see it. He tried to The moment he walked expect something with continue chewing his gum in more substance than this regular jaw patterns, and he pulled onstage he had the glorified nursery rhyme funny faces, even lounged against from one of the most important musicians of the decade. the piano in an attitude of mock audience by the throat True, it’s catchy with a full chunky sound to bounce it along, relaxation – but that deafening but with an undeniable infectiousness of the sort normally cry had him swallowing hard. want to get a copy abroad) what And then it’s over to John at associated with chicken pox or measles. George doesn’t have You could watch him thinking, with this Sgt Pepper opening on the mic, those inimitable, nasal to shatter the world with significance every time he sits “Christ, it’s weird being out in Broadway and Harrison out on tones. “We were trying to think down to write a song, but surely he can welcome the New front of this many people again, tour, it’s as if Epstein is pulling a of a number to get me offstage so Year with something a little less twee than this. Curiously, and me a little rusty, while ol’ few strings up there. I can be sick,” he says, “and we records of such banality have a habit of selling in their Elton over there at the piano runs Elton and John sing together on came up with this one written by zillions and this is bound to be a biggie. Hit. through his three-hour set like Lennon’s latest hit ‘Whatever Gets me fi ancé, Paul.” So what do they Colin Irwin MM, 14 December 1974, page 14 he does it every day. Which, now You Thru The Night’. Not a great do then but… ‘I Saw Her Standing

I think of it, he does, of course.” song, but it’ll do. There’! Yeah, incredible, the GRUEN-STARFILE BOB

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WALLS AND BRIDGES John Lennon Apple REVIEWED: MM 19 October 1974, page 37 ince The Beatles split, the and executed with Lennon’s very personalities of the four have special voice which has that most Smanifested themselves quite human of mixtures, sneer and strongly. George the strident mystic, emotion. The musicians involved Ringo the cutie, Paul the brazenly have strong credentials: Jim commercial and John the monster Keltner (drums), Nicky Hopkins with a heart of gold. (piano), Klaus Voormann It’s this characteristic that will (bass), Jesse Ed Davis (guitar) forever place Lennon for me, as the and keyboard and vocal assistance Nobody should ever one who is the more interesting ex- from Elton John on ‘Whatever Gets go for a Lennon album these days Beatle; he doesn’t even know which You Thru The Night’ and ‘Surprise expecting recreations of ‘Norwegian way he’s going with each album, Surprise’, which I take to be a song Wood’ or ‘Strawberry Fields Forever.’ so it’s small wonder that every one about John’s ladyfriend May The man is ten years older, not unfolds with surprise, and that, surely, Pang, as compared with much wiser, but still an is the hallmark of the evolving artist. ‘Bless You’ being Every emerging artist who Lennon is essentially a wanderer, about Yoko. has been forced to and though his last album was as In many ways, song is come face to face much a ‘concept’ album as he’s likely in fact, this is compulsive, with reality. But the to make (the contrived title ‘Mind a biographical melodic bite is untarnished Games’ was enough to put us off), album without and the verse is still this one is simply a collection of bringing the and lyrically exceptional. fine songs. Really, you have to be as listener too far into strong Lennon remains hooked on Lennon’s stance Lennon’s personal for me, a quirky genius and his singing voice to want to own blemishes so that the songs – and for such qualities, one this album. He’s very much a tortured could easily identify with anyone who has to put up with a lot. This is a personality, in just as strong a sense chooses the words as being relevant. truly superb album by any standards, as, say, Leonard Cohen: trying too ‘Nobody Loves You (When You’re words and music a joy to hear by a hard to say things and often coming Down And Out)’ is simple but lyrically musician who has a rare talent for across rambling inarticulately, but all powerful, and possibly the most selling love without making you the same, he’s real. telling track, but for sheer weight cringe. And his most important work Every single song on this album is ‘What You Got’ and ‘Going Down On is still yet to come. a night compulsive, melodic, lyrically strong Love’ take the awards. Ray Coleman

NME, 14 December 1974 page 10 audience goes barmy. To paraphrase note John left the stage amid manifold But at the Garden he seemed Ginsberg, I saw the best minds of my cheering, but not the building, because monstrously good. A lot of razzle- generation become hysterical. It’s he came back right at the very end dazzle, of course, with his name in big, dubious if McCartney himself could while Elton was singing his fourth blue neon lights and the huge glasses have improved upon it. encore to do a little clowning and framing baby-fat face – but the guy’s Oh, excuse me while I wipe dancing with Bernie Taupin. Elton got it all down. something out of my eye. On that says “this has been a very emotional He’s Big Fun. night for me”. Lennon He’ll never speak for his generation; embraces Elton. And he’s not that deep, but by inviting they they all split, but us not to take him too seriously he not before John has broadens his appeal, and ergo, his tossed his tambourine bank balance. If genius is pain, he to the piranha hands in leaves no marks. the fi rst row. Socko. At the same time he’s a craftsman, Now that little a pro, and he can rock’n’roll interlude was obviously suffi ciently good-naturedly to win the highlight of the over those of who go evening, but it was bananas over Lennon. a capper – it didn’t And one more thing, anyone who overshadow Elton’s brings along Alan Freeman as his own performance. compere must have a twinkle in his It was four years eye. His fault was that he played for too since I’d last seen long, and his songs are so melodically him – at the Country similar that without the Lennon Club, Stu Lyon’s old appearance his show would have dump, where Elton perceptibly sagged earlier than it did. played one Friday But no quibbles; I’m convinced. night before he went to the States for that Yours sincerely, big breaker gig at the Michael Watts, Troubadour in LA. New York

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It’s George Harrison’s fi rst tour since 1966 and he intends to enjoy it. ‘’, the fi rst Beatles song of the evening, receives a patter of recognition. “Here’s a song you hear in every elevator in the world,” and the familiar threads of ‘Something’ slide from Harrison’s hand with fl uency. Ravi Shankar then plays an Indian piece, boring the majority of the restless audience, and when he leaves the stage there’s polite applause and an audible sigh of relief. George is back, only now the energy is drained. They kick into an uninspiring instrumental. Some of the greatest musicians in America he’s assembled and the sound is just limp. “This song is for memory lane, for you, John, and I luv yer.” ‘In My Life’ drifts from the speakers, and the faithful stamp, whistle and cheer, but George’s voice is shot. Things are starting to look bad. The Beatle incomplete: George Harrison musicians seem unable to recapture onstage in 1974 the earlier enthusiasm. “Who’s glad ovember 1974 MM, 9 N , page 3 George is back?” Preston pleads, and they play ‘Outta Space’, whipping the Ex-Beatle limps back crowd into its fi rst real excitement of the night Vancouver, Canada, Saturday and upstaging George. Inside the 17,500 capacity Pacifi c It may be great for the musicians, but hree weeks before the were still reeling from the magnificent, Coliseum, shadowy fi gures were what about the people who paid ten opening show, stern two-hour sell-out performance of skulking about onstage. Someone dollars (about four pounds): we are declarations announced Elton John to be bothered by what they declared in a distinctly Liverpudlian still living in the material world. a limit of four tickets per considered was nothing more than a monotone, “Sorry we’re late,” and they The encore is slow in gathering T person. There weren’t refugee from the ’60s and his Indian pals. were there. A slide guitar ripped the momentum but it fi nally becomes loud many takers at ten bucks a head. One Still, the show eventually sold out, air, three horns blasted, Willie Weeks enough to warrant a return. George is week before the concert you could, if thanks mainly to the efforts if the local thumped his bass, grinning again as they play ‘My Sweet you wished, buy up to 20 tickets each. musical “cognoscenti” who twittered crashed his drums and Billy Preston Lord’. Then Hari, Tom, Ravi and Billy Last Saturday night the scalpers couldn’t constantly that their “impeccable called out, “Get it on!” are gone, and as far as Vancouver is even get three dollars for spares. sources” guaranteed the appearance George himself peered out, concerned, for good. Rob Geldof The return of Mystic George, ex- of Dylan, Clapton, Lennon, Ringo, resembling an excited and nervous Beatle, the Dark Horse himself, didn’t Russell and any one of a thousand stars schoolboy delighted and arouse much enthusiasm among the who were going to play with George on agog at some prank he’s Vancouver populace, most of whom the fi rst night of his seven-week tour. pulled off against all odds.

DARK HORSE George Harrison Apple REVIEWED: MM, 21 December 1974, page 36 eorge Harrison, the Sacred Cowboy, goes a long going something like “There goes our lady/With a ‘you way to disprove on this album the old Rudyard know who’/I hope she’s happy/And ‘old Clapper’ too”. It’s all GKipling adage about “east is east” etc. good fun, lad, particularly since Patti and Clapton are both With such funky stalwarts as Willy Weeks and Andy credited as performing on that particular track. Newmark sharing the credits with ’s LA Express ‘Dark Horse’, second track second side, is easily the and old Hari himself filling everything with eastern strongest on the album with Newmark and Billy Preston promise, our boy has established a new category in music – playing up a storm. My reservations are that Harrison Country and Eastern. And, with a few reservations, I would occasionally is unaware you can have just too much of a consider ‘Dark Horse’ to be a pretty good album. good thing. ‘Far East Man’, which was featured on Harrison himself plays some nifty slide guitar Ron Wood’s solo album and was co-written by and coaxes a tremendous amount from him and Harrison, really drags on, as does It’s a relief more than anything else that this album his normally unimpressive voice. He This ‘’. And then there’s ‘Ding is good and it should certainly do a tremendous amount to sings particularly well on the album’s Dong, Ding Dong’ which is Harrison’s salvage George’s battered reputation after his allegedly title track, and also on ‘It Is He (Jai Sri album should new single, and a bit of a bore. disastrous tour of the States. I approached ‘Dark Horse’ Krishna)’ and ‘Bye Bye Love’. do a lot to salvage Overall, Harrison displays a relaxed with some trepidation, fearing a lot of whining sitar, The latter will give the gossip George’s battered manner – one hesitates to say laid- thudding tablas and groaning, out-of-tune voices. columnists a few moments of fun with back – which does a lot to make the But there ain’t none of that. Yep, the Sacred Cowboy has Harrison’s parody of the original lyrics reputation wariest of listeners interested. produced a good one. Brian Harrigan RETNA

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March 1975, NME, 8 page 24

John Lennon tells Lisa Robinson about his legal struggles with the US government, Allen Klein and everyone else he bumps into and why he just wants to ‘Rock’N’Roll’

hree years ago, John Ono ’cause we’d just got living together and it was all in Lennon, US resident and then- public. I thought they’d deport her. So I copped a political animal, discovered that, plea, thinking it was just a misdemeanour. I fi gured, so far as the US government was ‘What the hell, it’s just £100… it’s just crazy,’ and it’s concerned, he was persona most been going on since 1971. The fi rst conviction came defi nitely non grata. Nixon’s down in 1973 when they said I had to leave the US. Attorney General John Mitchell I couldn’t be a permanent resident of the United is said to have ordered a campaign of harassment States with a British conviction. backed up with legal proceedings designed to “Now all the people are gone: the prosecution convince Lennon (and any others who cared to counsel and head of immigration. And we’ve just be watching) that the Land Of The Free was a land received permission to interview them, to question limited to those who approved of Nixon’s policies them about papers. I’ve found out that Senator – so far as foreigners went. Strom Thurmond sent a letter to John Mitchell The offi cial reason? That Lennon’s British drug when he was Attorney General; Thurmond was the conviction disbarred him from US residency. The head of a Congressional Committee. Whether we’ll actual reason? That Lennon’s political activities get our hands on that letter I don’t know, but it said, made him a pain in the Nixon ass. ‘This guy’s looking to stay here and we suggest no.’ George Harrison (also with a “Our lawyers always said that the instructions for British drug conviction), has visited my case were coming from Washington, and the the US freely and even went to New York people kept insisting it was a local case. dinner at the White House a month But we knew it wasn’t just a local case and this letter ago, but Lennon’s deportation order from Thurmond could prove it. still stands. Last week, Mitchell was “Just like we knew we were being wiretapped. But sentenced to two-and-a-half years’ how do you prove that? We knew we were being porridge for criminal activities “I won’t even go into the whole wiretapped on Bank Street. There were a helluva lot committed while a member of the story – we were busted by about of guys coming in to fi x the phones… and there were Nixon administration. Last year, 20 people, there were dogs… it’s two guys outside who kept following me around in a one of offi cers on whose John and Yoko a whole fi lm. They busted us in the car. It really was like a mini-Watergate.” evidence Lennon was originally after their court morning and they wouldn’t let us convicted was himself sentenced appearance in get dressed. There was a question How frustrating is all of this to you? for perjury (in a different drugs October 1968 in Parliament as to why so many “At one time it was getting to be a bug because I had case). And we all know what to keep going to court, and court happened to Nixon. cases got to be a way of life. That Lennon’s conviction still stands. was when I was hanging out with Elephant’s Memory and I wanted NME: What’s the situation at to rock, to go out on the road. But present with your deportation case? I couldn’t do that because I always had John Lennon: “Well, it’s hellish to be in New York for something.” really, I don’t know where to start. It’s going on the people were needed to arrest two people. Actually in same as before. They always say 30 days, but that the end there was no case against Yoko.” How much of your time is spent on this? passed months ago. They say that once a year. It’s so “It’s on my list of lawsuits. There seem to be an awful complicated; it started out because I had a British No-one ever advised you to fi ght the thing? lot of lawsuits involved with rock’n’roll.” conviction for possessing marijuana, which was “No, I was just panic stricken… I was a wreck. planted by a police sergeant, which everybody in Aaahh! Cops! In jolly England. You know I still half There’s Allen Klein, right?

Britain knows now because the guy’s in jail – not for believed about the good old bobby helping you down “Yes, that’s about 20. He’s suing me and Yoko and all CORBIS/BOB GRUEN-STARFILE my case, though, for somebody else’s case. the street. And I was really nervous about Yoko, the ex-Beatles and everybody that ever knew them.

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One, I’d go on with him – little thinking that it would.”

What did you think of George’s live shows? “Well, I saw the one without Ravi – he’d had a heart attack. But I don’t know… that night the band really cooked, the show I saw was a good show. My personal opinion was that even though I know what George was trying to do, I don’t think it worked with Ravi. ”

Is he so deeply involved with the Eastern thing that he can’t really do the rock’n’roll thing any more? “Well, he’s just cut off, really. It’s easy to get cut off. If you’re surrounded by people who aren’t rocking, then you just forget what it is. You know, if you John and Yoko explain their don’t listen to the radio, know who the plight on The Dick new artists are, the latest records… Cavett Show, 1972 if you switch off from that you don’t know what people listen to.

And he’s suing me individually, me collectively, any version of me you can get hold of is being sued. But immigration is the important one. The others are all money. I mean, if they can take Helen Reddy they can take me.”

To turn to your music for a moment, what happened I wanted to go over it one more time. And I had “That happened to me in England. ‘Whatever at Madison Square Garden when you were to have already seen the concert in Nassau, so I wasn’t really Gets You Thru The Night’ didn’t even crawl around performed with George? Is it true that Klein had planning to go to Madison Square Garden anyway. in England, so I said, ‘Send me a tape of the Top the place staked out with subpoenas? I don’t really enjoy sitting in shows, no matter whose Ten’ and it’s nowhere like America. I was just, ‘My “Well, Klein was chasing George all over New York. they are, because you either have to go backstage god, three years…’ I had no idea of what was going George was running down back elevators. I mean, with all that hassle or sit in front where you get all on there. Now I get them to send it over every few Ringo won’t even come to New York. I live here so the people looking at you. I know Mick (Jagger) and months… it all seems to go boom-da-da, boom-da- I get all the papers and I’m always doing depositions. everybody are always doing it, but it wears the shred da, boom-da-da… “See, at the time George was doing his concerts, out of me. Anyway, there aren’t very many people “The album did alright, it could have done better. we were also fi nalising the Apple papers. And what who I’d want to see in concert. I’d only go because It would help if I was more visible there, but I can’t actually happened was at the last minute I wouldn’t they’re friends, you know. I prefer records, I always be. And in Britain the TV is sewn up. You’ve got to be sign it. Actually, my astrologer said it wasn’t the right did. It’s like watching a painter paint – just give me in the charts to get on TV and you can’t get on the TV time to sign it. George got a little angry with me the painting.” unless you’re in the charts. The BBC came over here for not signing it and he decided to fi nish the tour and fi lmed me. I guess they fi gured that the single as he’d started it. That was cool by me, because I’d Do you have any plans to perform in concerts on would jump into the Top 20. But it didn’t. It fell over, just done Elton, but I did not want to do George… your own? so they didn’t use the fi lm. because it was expected. But he probably made the “Well, performing’s not my greatest kick. I had fun “Now ‘#9 Dream’ is doing a bit better, I hear, so right decision… I saw him afterwards, at the party.” with Elton, but that was just because it was Elton. that gives you a clue. I think they’re going to like He was really more nervous than I was, because he the rock’n’roll oldies album better than anything, Was it true that you, or the McCartneys, were was nervous for me. I think he felt, ‘Poor old bugger, because that’s what they seem to be playing over denied a backstage pass? maybe he’ll collapse.’ I don’t know. It was just a weird there. But they’re doing it a bit tongue in cheek, “Well, there was some funny business but you know, feeling being up there alone, but I knew Elton and I think. I did it for real.” I like him, I love him, we’re all right… I don’t really I knew the band and it was just a one-off thing. Don’t want to make a big deal about it. The thing is just that expect to see me all over the place. I promised him if Why are there so many lawsuits? the business was always interfering with the pleasure. ‘Whatever Gets You Thru The Night’ got to Number “Ask any rock star about lawsuits and the more It was hard to deal with each other anyway. money there is, the more lawsuits there are, the “I’d seen a lot of Paul and Ringo in the bigger the artist, the more lawsuits. last two or three years – Paul always comes I mean, people sue me for anything; to New York, or I see Ringo in LA – but that bloody fan with the Instamatic I hadn’t seen George. So we were trying who sued me for hitting her. I never to talk to each other after not having seen touched her, never went near the each other in three years. During that time girl – in the Troubadour, the famous we’d only been vaguely communicating Troubadour incident. She sued me and through lawyers. We tried to communicate I had to pay her off to shut her up. That in the hotel and I hung around the hotel for happens all the time, she just wanted a few days, but it was hard. money. People sue you if you bump “And then I didn’t turn up on the day into them on the street. I do admit to that I was supposed to sign this agreement. chasing some weird people around, but But I fi nally did sign it, in Disneyland. Billy Preston and she was not in the scene…” George Harrison with President Ford at the White House, 1974 98 NME ORIGINALS 1974-1975

ROCK’N’ROLL John Lennon Apple REVIEWED: NME, 22 March 1975, page 21

“ e-lived by JL” it says on the Me’ followed by ’ in a mountain range of sound – with sleeve – and that’s where ‘Bony Moronie’. Lennon left suddenly alone in them, R‘Rock’N’Roll’ scores over last Both have gigantic sounds – lots of savouring lines like “Rock’n’roll by the year’s spate of retrospective enterprises. snare, riffing saxes, chunking 12-bar light of the silvery moon” and “Making Possessing no equivalent of Lennon’s guitars and echo unlimited – care of Phil love underneath the apple tree”. crazily alienated youth to obsess them, Spector (who produced and co-arranged Lennon simply accentuates the Bowie, The Band, Ferry et al could only four of the best tracks in late ’73 before beauties that were always there. look back in warm nostalgia and attempt, having his car accident). Anyone else would have felt obliged with artistry, to re-create. ‘You Can’t Catch Me’ is an epic, to comment. By comparison, Lennon is fixated. His a powerhouse rock-out that’d The overall mood focus on his early teen years has the make a great single with concerns Lennon’s brilliant gleam of genuine obsession. its ‘Come Together’ This is the attitude to his He re-lives – and that’s what prevents references and all; best sustained own enthusiasm. Home To Me’, ‘Be-Bop-A-Lula,’ and ‘Rock’N’Roll’ from being charged with the ‘Bony Moronie’ is effort on John’s (A song in his heart, ‘’, but ‘Rip It Up’, ‘Ready Teddy’, archness, the indulgence, the ambiguity, tackled at a markedly a smile on his face.) ‘Slippin’ And Slidin’’ and ‘Aint That and the decadence that surrounded the slow pace which part since ‘Plastic Witness the A Shame’ are, in the words of the ad attempts of Ferry and Bowie. Lennon isn’t allows the breaks to Ono Band’ introduction of Lloyd man, sheer enjoyment. into perspectives; ‘Rock’N’Roll’ is what it become yawning gaps Price’s ‘Just Because’ One comes away from this album with claims to be and no more. with John reminiscing over the hope that these old forms are still And no more? Let’s get this a swarm of mandolins: “Ah, viable; their simple strengths are very thing the right way up: this remember this? I must’ve been 13 much what’s needed today. If ’s album is the best sustained effort when this came out. Or was it 14? Or oldies album hits it off (and he must have on John Beatle’s part since ‘Plastic was it 22?” a hell of to tell), we might witness Ono Band’, although the parallel I’m utterly disarmed and expect a complete change of direction in the ends abruptly there. you’ll be also. next year or so. The quickest way to become Personally, I’d have preferred Meanwhile, we leave Mr Lennon convinced is to hammer into your a punchier version of ‘Sweet Little wishing his listeners well from the final local disc vendor and demand to Sixteen’ and don’t really care grooves of his latest album: “Everybody hear Chuck Berry’s ‘You Can’t Catch John Lennon either way about ‘Bring It On here says, ‘Hi.’ Goodbye”. Ian MacDonald rockin’ and rollin’ with Phil Spector

Weird people? “Yoko and I have known each other for nine years, I think I’ve only heard that lately about Paul. “Well, I was not in the best frame of mind and I was which is a long friendship on any level. It was a long “Oh, I’ve had him, he’s no good (laughs).” wildly drunk. But I was nowhere near this chick, she’s year, but it’s been a nine-year relationship, a seven- got no photographs of me near her. It was my first night year marriage – maybe it was the seven-year itch. And Did you go to Allen Klein because of the Stones? on Brandy Alexanders and they tasted like milkshakes. apart from the pain we caused each other, it probably “Well, I reckoned Klein was alright because of the The first thing I knew I was out of me gourd.” helped us. We knew we were getting back together, it Stones. I thought Mick was together. Everyone always was just a matter of when. We knew everybody else thinks everyone else is together. You’re together Doesn’t all this wear you down? might not have, but we did.” yourself or forget it. ” “Well, I’ve come out of it. Last year, with my personal life and the Apple business, the Klein business and Actually, there wasn’t that much press attention to You should always go the immigration business… I mean you don’t want the separation as one might have expected. by your instincts… to admit it while it’s happening that that’s what’s “Well, I read more about myself than you probably “I know, I’m trying making you go barmy. do, and I’ll tell you there was. I mean, they would to learn. It’s a hard “You’re still living every day and you think you’re catalogue everyone you went around with, things like thing to learn after just going to a party, then you end up throwing up ‘Lennon in Florida Trip’. Things like Rona Barrett… being programmed for life not to use your instincts, you know. But my instinct is what has always saved me from lots of dragons.”

in the toilet. Everything was excessive and you’re not I think she wrote that Yoko was living with my ex- Allen Klein, quite in control; you can’t lie back with the hangover wife in a ‘strange relationship’. She was putting that the suemaster and say, ‘Now, why did that happen to me?’” around… that was dead wrong, because Yoko was general, in 1971 defi nitely not living with my ex-wife in a ‘very feminist You seem ecstatic to be back here with Yoko. relationship’. I see them all and you can bet your life “Well, I am. This is no disrespect to anybody else somebody’s going to send you the clippings. ” I was having relationships with, but I feel like I was running around with me head off and now I got me Yeah, your friends. . . head back on. Yoko and I were always in touch… It’s “Yes, all your best friends let you know what’s going like I went out to get a coffee or a newspaper somewhere on. I was trying to put it round that I was gay. I thought and it took a year… like Sinbad I went around the that would throw them off… dancing at gay clubs,

STASRFILE/GETTY IMAGES STASRFILE/GETTY world and had a mad trip which I’m glad is over. fl irting with boys… but it never got .”

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eptember 1975, p MM, 6 S age 28

George Harrison breaks his silence to talk to Ray Coleman about past mistakes and future plans

eorge Harrison went to see is stepping out again. A new album, a nervous McCartney’s star-packed party aboard the Queen the celebrated play John, Paul, readiness to plan a tour, a general interest in things Mary – so relations between the four of them were George, Ringo… & Bert in wider than his traditional favourite of Indian music fi ne, he avowed. London last week. He left at the and culture. Above all, a willingness to contemplate “After all, we went through it together and we interval. He could not stand the the past with The Beatles and since, and to place it in were all very young when The Beatles happened, but pain of seeing himself and The context, George Harrison is back, intact. we’ve still got plenty even though we’re Beatles years being re-enacted so uncannily, and he This summer afternoon, he’s sitting in the Chelsea different people – naturally, we’re ten years older!” questioned the fundamental need for the show. room of his record company HQ, Dark Horse, mild The fi rst ex-Beatle to view the play, he had been mannered and drinking one glass of beer. THE NEW ALBUM, ‘Extra Texture’ is out next persuaded by close friend Derek Taylor. “George “How’s he looking now?” people have asked me week. “One incidental and perhaps sentimental found it hard work to watch, and I found it hard since the interview, as if I’d been to view something point for us is that it looks like it could be the last work sitting with him,” Taylor said. “It was a genuine they’d ceased to believe existed. They’re either Apple record for ever, unless somebody else forms a form of suffering for him.” It was hardly surprising expecting him to have faded away – in itself a company called Apple,” he said. “Paul’s already done that George didn’t enjoy it – after all, he was hardly in commentary on his seclusion from any media during a deal for his future which puts him on Capitol for love with while it was happening. the past few years – or to have become so obsessed the world, good luck Paul; it doesn’t look like Ringo George was never an enthusiastic Beatle. He rated abut things Indian that Westerners no longer have or John will be doing another album this year. So I himself as a musician fi rst and pop star last. He any point of contact. Well, George Harrison, mid look like being the last one on Apple. Funny, the fi rst disliked the screaming of fans and resented their ’75 version, is slimmer than I’ve ever seen him, but Apple record was the music from Wonderwall, which intrusion into his privacy (he was the fi rst to get then I’ve never seen a stout vegetarian. (“I won’t I wrote – quite a coincidence.” electrically-operated gates to keep them out); he allow meat in my house,” he says). His complexion Regrets, he’d had a few: “Yeah, I feel a bit of was always more concerned with stepping ahead is sallow, he wears small earrings à la early Keith sentiment about it because Apple did a few good in style and quality on the next things. We were always bugged by album than he was with reaching business, though, and business as Number One with a new single. opposed to the artistic side is always Through his openly expressed a problem for everyone. disenchantment with autograph “Me, I was never really interested signing and all that was entailed in Apple shops or anything else. by being a quarter of the biggest During the whole Apple period, I was attraction in the world, he was regularly rumoured to Richards. He appears laconic, relaxed, and even always mainly interested in working in the studio, be on the verge of quitting The Beatles. Partly because poses for pictures – something I have never seen him recording. John, Paul and Ringo would have some of these rumours, partly because of the natural tensions do in 12 years of Beatling. great ideas but at that time. I couldn’t be bothered to of such a massive act, but mainly because he trusts few He’d not long returned from LA where he’d seen follow through. I suppose my attitude didn’t help. people anyway, George became a recluse when The Bob Marley & The Wailers three times at the Roxy “The business became an incredible headache. Beatles dissolved into separate compartments. John, – “best thing I’ve seen in ten years. Marley reminds Everything that could go wrong for us with Apple Paul and Ringo made their exorcising speeches, but me so much of Dylan in the early days, playing went wrong. And yet it was a great boon for some George went into hibernation. His only contact with guitar as if he’s new to it. And his rhythm, you people – the Badfi ngers and the Billy Prestons of the world outside his Henley-on-Thames mansion know, it’s so simple, yet so beautiful. I could watch the world. It went crazy in the end, Apple, but it was among musicians. The Wailers all night.” In Los Angeles, George had did give some good people an outlet. That’s why I’m He’s been a mightily long time coming out of the also seen the Stones and and been to here now with Dark Horse Records – Apple didn’t shell, but now at last George is ready to become more shows with Ringo; earlier this year he’d seen plenty shake my faith that much. Good musicians are

ROBERT ELLIS-REP FOTO outward. Today, about fi ve years on, and George of John in the same city; he had also attended Paul worth encouraging.”

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George, for all his denials of interest, has a hard and we made a point of trying fairly shrewd business brain and was by far the to broaden our own experiences most money-conscious Beatle, often quizzing Brian on our own, to overcome as many Epstein about where the cash was going. Will Dark limitations as we could. And there Horse, then, learn from Apple’s disaster areas and were quite a few restrictions in those become a thriving, longlife company? days, like four-track recording. And “Oh yeah, defi nitely. There’s still areas of business we used to play in those huge places I can’t be bothered with, and there’s no way I could get with 30-watt amplifi ers! I think The bothered with some aspects of running the company Beatles generally were very, very without losing sight of what I was supposed to be good on refl ection. The music was – a musician. All four Beatles were diverted from good and we kept improving. But being musicians through all the business problems then, you know, those days were of Apple, but now what all four of us are doing different. Musicians today have independently has gained from those experiences. so much more to listen to, they’re “We all make mistakes. Apple was a very big one, bound to end up sounding different perhaps, but that’s what life is all about. You learn because they’re exposed to so much. from your experience.” Not so much innocence around So what’s the fundamental aim of Dark Horse – to now, perhaps, for a group trying to champion new talent as well as to make money? come through and make its mark.” “Yes”, he said quickly. “That’s what all record Individually, though, how do John companies are about. New talent is the strength of and Paul and George and Ringo any label.” But he was quick to add that John and stand up to comparison with The Paul’s New York press conference in 1967, launching Beatles? His answer was slow and Apple and saying the door was open for all new deliberate: “I suppose to look at worthwhile talent had catastrophic results. He wanted to stress that while Dark Horse was looking for talent, its attitude wasn’t so philanthropic as Apple had been. “Remember, the basic thought behind Apple in those days was that we resented marvelous musicians or singers having to go to the very big, established record companies and go down Hari’s mates: on their knees. That’s what we, The Beatles, (left) Ravi Shankar had had to do with EMI, and so we said the fi rst and (above) thing we’d do when we got a bit of money would Billy Preston be to try to beat this part of the system at least. So many really good musicians had told us they couldn’t get a break, make any records, and it got Did he feel competitive towards the other three us furious. But our ‘open door’ policy proved in that each was trying to prove a solo point? impossible to run. We were fl ooded with every “No, I don’t think so. I’m always pleased when person imaginable who could play an instrument the other three do something good. We were or sing a note! We had to clamp down on that always a little bit attached to each other. We all because Apple just became a lunatic asylum.” naturally watch what the others are up to – not Harrison is unlikely to veer towards today’s very easy, you know, now John’s got himself fashions in music when seeking to add names locked in the States.” to his roster. Unlike his contemporaries who felt each one of us individually now, even if we’re rated as Did the label “ex-Beatle” hanging round his neck they had to “make the scene” with statements about big solo artists, each one of us may not be as heavy as for the rest of his life worry him, as he was the least the state of pop in the embryonic ’60s, George was The Beatles were collectively – but at the same time enthusiastic Beatle and had always sought stature merely a staunch Tamla supporter who later no less heavy than any heavies who are around. We apart from that fame? went Indian and that was just about that. “I’m still probably didn’t even realise ourselves how heavy we “I didn’t like it, no. That was the point when we basically in favour of the things I liked all split up, when we grew older in the old days – Smokey Robinson, and realised the restrictions Stevie Wonder, those sort of things. from every point of view – as No, I’ve never been interested in Black people and as musicians. The Sabbath. Heavy metal? Is that what only thing I have against being they call it? Oh no. an ex-anything is that it doesn’t “In some ways I feel I’m out of give much thought to the present. touch, particularly in England. In America, there’s were. I mean, it’s only now when you sit and watch That’s all. I mean, I’d rather be an ex-Beatle than an still more chance of picking up on something documentaries about The Beatles that you realise ex-Nazi! But more than anything, I’d rather just be fresh, interesting. Maybe because it’s a much bigger how big it all was. At the time, we were going through here now. Not so much of the ex.” industry, there’s not so much tendency for them to it and we were cut off from so much.” get into little cliques. England does tend to get very But he stressed that he liked what The Beatles stood IT CAME AS some surprise, then, when George last cliquey, as far as I can see… to tell you the truth I’ve for, even if at the time he had reservations about year went on the road in America. His tour brought never heard the .” the life they led, being buffeted from hotel room to him very mixed receptions and it was as different Do you ever play Beatles albums? concert hall to aeroplane. “The Beatles did put out from Beatlemania as he could have wanted. Not “I haven’t played one for years. good, innovative stuff all the way. We knew our next every show was a sell-out; he lost his voice; George How do you remember them, when you look back? album would sell a lot just because it said Beatles on being George concentrated on songs from his new “Beatles? Oh, I think The Beatles were, or are (long the front, but it didn’t stop us trying. The albums went album rather than the Beatles songs the crowds pause) very good. One of the points everybody would up in levels of improvement. Musically, even though demanded; there were reports of sloppy stagecraft remember about The Beatles, is that we did work I haven’t much desire to re-live it, it stands up well.” – and the buck stopped fi rmly with Harrison.

102 NME ORIGINALS 1974-1975

“In the old days when I used to tour with The Beatles, I never used to sing that much. The whole show we did went for 30 minutes – and if we were pushed we could get that down to 18 minutes by going fast, so not one EXTRA TEXTURE

of us sang solidly at all. No chance of voices cracking Apple up on a Beatles tour. George Harrison “But, you know, on this tour I did two shows a night REVIEWED: NME, 20 September 1975, page 23 for three hours a time, doing lead vocals for most of an you imagine George are the customary mournful the time apart from Billy Preston’s few tunes and the Harrison making a worse and doom-laden Harrison Tom Scott tunes and the Indian section. Then all the C album than ‘Dark Horse’? we’ve come to know and fear, talking. I’ll know better next time to be fi t.” Well, he hasn’t. only this time the rigours of With the new label Dark Horse named after his Though ‘Extra Texture’ isn’t the love take precedence over song, one wonders whether George is making an Harrison revival that many might matters spiritual. autobiographical statement: “I’m a dark horse/Running have hopes for, it’s still several George’s songs have never on a dark race course”. leagues superior to Hari’s more been that lyrically potent, and “Yeah, well, the song came to me just early one recent efforts; and just as ‘All he’s usually fallen prey to the return to energy. morning when I was sitting by the fi re in Henley. I just Things Must Pass’ would have made self-conscious worthiness of the It has the kind of semi-Spector thought of dark horse in relation to Liverpool which a great single album, so ‘Extra “message song”. production that was spread all over was running through my mind at that moment. When Texture’ would make a more than And he’s hitherto relied on ‘All Things Must Pass’. It bounds I was a kid there, I always remember them saying: commendable single side. “musicianship” (no bad thing but along OK, Harrison’s double-tracked ‘You’ll never believe that Mrs Jones, she’s running It’s also my not unpleasant it isn’t always enough) to get vocals gasp convincingly, and it around with Mr Badger, you know she’s a dark horse.’ duty to inform you that him through, and on deserves to be the hit that it will be. “Next day, I woke up and wrote all the lyrics having on ‘Extra Texture’ ‘Extra Texture’ has But after this, hopes of Hari’s breakfast at tea-time which is always a good situation there’s not a There’s has assembled the revival are comprehensively dashed for writing a song, I fi nd. Went straight from writing single overt not a single usual West Coast by five-and-a-half minutes of the it to the studio and recorded it straight away. The reference to session posse of inordinately dreary ‘The Answer’s best line in the song, which is the most important, is Krishna, The overt reference Jim Horn, Jim At The End’, which is one of Hari’s ‘running on a dark race course’. Lord, Our Divine to Hare Krishna Keltner, Jesse Ed Homespun Homilies full crusty “So, while the fi rst line is very English, and might be Purpose, or Davis, , chunks of potted wisdom like “Life taken as an admission to something, the second line what a drag it or The Lord Klaus Voormann is one long mystery, my friend” that means the whole situation is pretty shady. is hanging about etc to help out. have been passing as song lyrics “Then when I started to reassemble my business life, on this lump of rock None of which, since 1967 persuaded people that a business manager of mine asked me for a name for whizzing round the sun unfortunately manages songs should have a “message”. my publishing company and I said, ‘I can’t think of living in the rotten ol’ material to inject much life into the likes ‘This Guitar Can’t Keep From anything, you do it,’ and he said, ‘How about one of your world even if you have got a bloody of ‘The Answer’s At The End’. Nor Crying’ is, naturally enough, a songs?’ So I said, ‘OK, Dark Horse.’ So then I got carried great mansion down in . does it make ‘Extra Texture’ add up continuation of ‘While My Guitar along with the whole thing, started looking everywhere I haven’t yet seen the album’s to more than the sum of its parts Gently Weeps’ off the ‘White Album’, for horses for the logo. I found the logo on a tin of paint sleeve, but on all the ads Hari’s – which, as all good rock fans know, of which it is not unreminiscent in India. Problem: it was going the wrong way and it was got quite a chirpy smirk plastered is what really sorts out the great despite a slower pace. white, but basically the horse itself was good. Brought across his dial, which is a bit albums from the OK ones. ‘Ooh Baby (You Know That I the tin back, cleaned it up, got an artist to re-design it so misleading since all but a brace of The opening cut (and single) Love You’ is dedicated to Smokey it would run around the record this way. I made it dark.” the nine tracks on ‘Extra Texture’ ‘You’ seems at least to proclaim a Robinson, and the vocals try His belt buckle bears the Dark Horse insignia. unsuccessfully to capture some kind of intimacy of soft soul. All form, no IT WAS GEORGE who fed the other three Beatles content, and you can’t whistle it. the propaganda about the famous Maharishi and On side two things, thankfully, transcendental meditation, a phase most trendy improve. ’Tired Of Midnight Blue’ rock musicians went through in 1967. Yes, Harrison makes more constructive use of still meditated occasionally: “In retrospect, that was Hari finding his heart in his boots. probably one of the greatest experiences I’ve ever had. There’s a tune, some moderately There was a programme on TV the other night about tricksy chord changes and a meditation, and it’s funny for me, having meditated refreshing simplicity in sight. The a lot and now seeing the meditators trying to prove relative sparcity gives Leon Russell scientifi cally that meditation is a value. They get the chance to play some charming involved in doing all these experiments and testing tumbledown piano, George meshes people, but I can tell you and them all, that that’s a some crisp rhythm guitar against waste of time because it’s only through experiencing it his own lead; and it works. can you realise what it does and it is such value. ‘His Names Is Legs (Ladies and “On the other hand, Maharishi was always put Gentlemen)’ is the odd track out down for propagating what was basically a spiritual because it’s (ulp) not serious. It thing but there’s so much being propagated that’s seems like an attempt to recapture damaging to life that I’m glad there are good people some of the innocent light- ILE around like him.” heartedness of Beatle days. George said he prayed, but didn’t consider himself Verdict: I’ve played it, I don’t heavily religious. “Maybe compared to the average pop mind it, I won’t buy it – but then star, but compared to what I should be, I’m a heathen.” I don’t have to, Hari fans can Then again, he’s not an average pop star. “I just want anticipate purchase with glee. to keep improving as a musician, run a good little record Others approach with cautious label and Bob’s yer uncle. Beatles were an important optimism. Neil Spencer George shows

ROBERT ELLIS-REP FOTO/CAMERA PRESS/STARF point in all our lives, but it was yesterday…” off his all new “lighthearted” face, 1975 NME ORIGINALS 103 1974-1975

anchester appeared through the As Wings take to the road on one of the coach window – bits of fl yover marching through a jumble of hottest tours of the year, Chris Welch – the crumbling old buildings, half- completed landscaping, a huge abandoned railway journalist among the entourage – reports terminus, boarded up shops, and rain swept concrete from behind the scenes of a band on the run blocks, once a 1950s dream of the future – now an September 1975, p aimless, broken mess. “God, the property developers MM, 20 age 8 have been at work,” I observed. “And what are you going to do about it?” demanded “Why are you doing it?” demanded a puzzled press, Of all the aspects to emerge during a three-day stay Paul McCartney, squarely. I thought for a second. as Wings dropped in on town after town. The answer with Wings on the road, my greatest impression was “I’ll write a few scathing attacks.” was plain to see, in the ecstatic reaction the band of McCartney’s sheer musicianship and instinctive “And I’ll write a ,” smiled Paul, as received from audiences who cared not one jot that professionalism. Despite his repeated protestations the coach drew up outside an elderly hotel that Paul had a previous existence. Only the press seemed that both he and Linda were “very ordinary people”, maintained past splendours in defi ance of the to have diffi culty in acknowledging the fact that McCartney’s all-round ability puts him into a special surrounding shambles. The band on the run had Wings have their fans, just as The Beatles had theirs. category reserved for very few. come to rest in another town, for another concert. At press conferences and TV recording sessions Watching a succession of shows by one group is And the stars would be right for another night the same old questions were asked, understandably, sometimes a chore, but in this case it’s a privilege. – Venus and Mars – Linda and Paul, working as they are geared for mass consumption, but as A Wings concert is everything that a true pop concert their way around Britain on a tour unique in recent Linda said after one session: “They’ll be asking if The should be. And yet, when Paul read his daily reviews rock history. Beatles will reform when we’re old and grey.” in the national press, he found himself receiving such

104 NME ORIGINALS brass section: Tony Dorsey on , Thadeus Richard (sax/clarinet), Howie Case (sax), and Steve Howard Jr (), all from the States, with the exception of Howie, an old Liverpool friend from the Hamburg Star Club days. Add to this entourage erratic, likeable publicist Tony Brainsby; Wings’ manager Brian Brolly, a sophisticated urbane gentleman of slow and thoughtful speech; an ever changing polyglot of EMI representatives; Rose, the McCartney children’s nanny (honoured on the ‘Red Rose Speedway’ album); the McCartney children, the band’s children, a young tutor to keep up their book learning; a gentle, immensely strong looking West Country bodyguard; chauffeurs in peaked caps charged with care of the two Rolls-Royces that accompanied the coach; representatives of Mel Bush and of course the boys from Showco, the American rock tour experts, and you have a modern equivalent of a touring circus. Quite a team, that spent many minutes of each day phoning each other, waiting to assemble. It was one of those ‘hurry up and wait’ situations, where “fi ve minutes” means an hour. and Denny spread out in front of ’s Added to this pool of people waiting to see who would diminutive , while Paul essays between move fi rst and where, were the folk who drifted on the grand piano virtually hidden behind Linda, and off the tour, TV crews and interviewers, more and a place at the microphone in line with the boys. reporters and photographers, including MM’s own A clever layout – nobody disappears to dominate Bob Ellis, who is also offi cial Wings’ photographer, anyone else. and Kate Simon, a charming American who was The measured, plaintive tones of the ‘Venus And crushed, bruised and lost her fi lm to the fans, while Mars’ theme introduce our hosts and then it’s into attempting to take pictures at Cardiff. ‘Rock Show’ and ‘Jet’, stalwart rousing statements, The Post House Hotel, 11 miles from Bristol was custom-built for a touring band, which seem to made base-camp for two days and was booked to epitomise the rock ethos. Like Elton John, Paul has capacity. As a result I had to stay in a nearby hotel a sense of history. which locked me out the fi rst night, as I stayed up to As the gig picks up momentum it becomes 2am watching Woody Allen’s Play It Again, Sam at increasingly apparent that all past hints of the nightly Wings fi lm show. amateurism and stories of incompetence have ever been expunged. A great glib dismissals as : “McCartney is a throwback” and BRISTOL amount of rehearsal “Paul should go solo”. HIPPODROME, had gone into ensuring “What do they mean?” he demanded, his face WEDNESDAY, 8PM. that arrangements are contorted by a mixture of pain, bewilderment and Fans are jammed in the delivered with accuracy, resignation. “Don’t they think I’m the centre of the tightly-packed seats of the that solos slot into each show already? But I think I can see what this guy grand circle and stalls as appropriate moments, means when he says I’m a throwback. I suppose I am the show starts promptly. and above all to ensure from another age…” He tried to look convinced. It is It runs for two hours, that the confi dence not diffi cult to understand why, when Paul refers to without supports or any of each performer is the press he makes a screwing motion, as if operating other deviation from Wings’ appointed course. unimpaired. As a result, Wings frequently sound some medieval instrument of torture. Like the feeling generated within the band there is like an orchestra. By the time I caught up with the tour in Bristol on a strong family atmosphere, a sense of reunion, that It’s a strange band in many respects. Denny Laine, Wednesday last week, the band had already played affects the youngest Wings fans who know best the the Midlander who has experienced success and its opening date in Southampton the previous night, music of ‘Band On The Run’ and ‘Venus And Mars’ disappointment in his long career with The Moody and had been greatly pleased by the response. Each and can sing along softly to the words of every ballad; Blues, his own String Band and later Ginger Baker’s night saw progressive improvement, while the party and the mix of young marrieds and adults come to Airforce, is fl anked by the diminutive fi gure of surrounding Paul and Linda grew by the hour, as hear their favourite songwriter of the decade. Jimmy McCulloch, a chirpy, sometimes aggressive they commuted between hotels and concert halls. The band lined-up with the brass section, Glaswegian, who has been a respected lead player since The basic Wings line-up includes Linda on somewhat distant at the right of the stage, raised- he was a mere lad, working in such bizarre settings as keyboards, Denny Laine on guitars and Joe English up but discreetly at the back, with Linda’s array of ’s band, or with John Mayall

MICHAEL PUTLAND-RETNAMICHAEL on drums. They are augmented by a four-piece keyboards parked sideways, at the right. Jimmy and, most recently, Stone The Crows.

NME ORIGINALS 105 1974-1975

Both are prone to outbursts of wild the most famous men in the world, and a rich behaviour offstage and display symptoms ex-Beatle he carries on touring. Just what kept of inner frustration that can grip many him going? “Drugs,” replied Paul earnestly. a professional musician. Joe English however, “I must have them. No… I just like music.” has the business-like approach of the American Had he seen The Beatles lately? “We run into engaged in advancing his career, his drumming each other and stuff – we’re just good friends.” funky and direct, its roots in the South. Was Wings really a logical development from Whatever their differences in age, personality the Beatles? “Well, I’ve always written songs, and background, somehow the group works, but with The Beatles we only ever rehearsed displaying a discipline that would be hard to fi nd for three days – at the most. With this band in many a band that has grown up together. we rehearse a lot.” “See if you remember this one,” says Paul, and Was he looking forward to playing in ‘’ has the audience clapping to Cardiff? “Of course,” begins Paul, but there the barrel-house beat. The band swap around is a from Denny Laine, who says instruments a lot. Denny plays bass, or double- to nobody in particular: “When are they neck guitar as the occasion demands and Jimmy going to start speaking English there?” End helps on bass too. of fi rst interview. Meanwhile we’re into the measured grandeur of Second interview. Why did Paul decide to ‘The Long And Winding Road’, with its emotive go back on the road? “Well, either we sit at brass arrangement from Tony Dorsey, emphasised Paul works on the home and do it, or we play in front of people. by Joe’s sonorous tom-tom accents. A tremendous new Wings logo Now it’s a pleasure to do it and we want to while on tour outburst of cheering greets his performance, but keep on working.” Would Wings ever there is a pause onstage as Wings sort out who become as big as The Beatles? “I think it is going to announce the next tune, the only hint could be, funnily enough. The whole thing of disorganisation. A babble of voices beak out as the crowds struggle is bigger now. We’re having a great time – we like to There is barely any stage gimmickry throughout to quit the building. You can judge a show’s appeal by play music and people like to come and hear it.” the concert. No dry ice, laser beams or pantomime the terse comments passed in the gents’ loo. “Didjer How different was Wings from The Beatles? “They horses, just an occasional slide projection. And yet enjoy it?” “Yeah – really good.” Oddly enough, no scream at our concerts, but they don’t scream as it holds the attention and provides more continuous one suggested “the throwback” should “go solo”. much. People used to come and scream and didn’t enjoyment than any concert I can recall this hear any of the music. Now they can.” Did Paul want year. Barely any of the songs extend beyond four THURSDAY: POST HOUSE HOTEL, OUTSIDE to bring back The Beatles? minutes and there is none of the mind-wandering BRISTOL. Despite claims by some of the band to be “It wasn’t within my power to bring back The boredom that can be induced Beatles. It was a four-way by bands who say virtually split and we all wanted to nothing in 30 whole minutes do different things. We’re of blathering. all very good friends. John “All right – a bit of is keeping very quiet at the rock’n’roll!” yells Denny as at moment while, fortunately, length the band return and I’m out working… I like it.” launch into ‘Hi Hi Hi’ and Paul tries to fi nd new eventually double the tempo to a shattering fi nale. hardcore ravers, there were no overnight excesses, words to fi t an old theme. What can you achieve The group return after more thunder to take a bow, such as might be endured on a tour with Zeppelin now? “I don’t know – that’s a bit heavy that question. but there are no more encores. Wings have literally or The Who. Thus, Wings nose relatively early the What do you want to do? I want to make really great exhausted themselves and have no arrangements morning after the Bristol triumph. The fi lm shows records. Maybe your ambition is to do a really great left to play. seemed to provide a good substitute for aimless interview and, when you do, well, you won’t want to boozing and the talk was of treats to come, like give up, will you? You don’t ever give up. Everyone Blazing Saddles, and French Connection II. Rumours goes on.” of Deep Throat proved unfounded. It was time to make a move and as the TV Even so, Wings were somewhat bleary-eyed when men packed up, Paul and Linda dived into a black it was time to face the cameras for two lunchtime Rolls-Royce, heading for Cardiff and the afternoon interviews set up in the hotel for BBC TV and Harlech soundcheck. As we drove along the motorway, Ooh that Paulie (swoon TV. There was some delay while the band were the TV crew zoomed alongside, fi lming through swoon) he’s a sly one. You being aroused and assembled and the crews jested, the window. play this single and in no time somewhat nervously, that it was: “Like waiting for an They weren’t angry, but the McCartneys seemed at all you’re wondering how audience with the Pope – or General Amin.” genuinely perplexed at the interest in things past someone so talented can Eventually PR Tony Brainsby arrived, beaming when they had Wings fresh and new, waiting to produce something so inept through his glasses and singing: “We won’t be long!” be discussed. “I think they’ll go on asking those and you’re thinking it’s safe to an old Beatles tune. “Right – yer on,” he added. questions for ever,” sighed Linda. “The guy asked me to dismiss this as a loser. And “No screaming.” Paul and Linda led the way, what was there left to achieve, as if I’d done it all,” then, involuntarily, the foot begins to tap, the head starts Linda muttering an aside to the MM: “Am I ready said Paul. He kept repeating to himself, “What is to nod and, by four or five for this?” The rest of the band followed, including there left to achieve?” spins, you’re hooked. The Denny Laine’s baby, known to all as “Lainey”, It seemed to me that Wings had achieved a lot as same creeping, tuneful process as used on ‘Band On The Run’ who seems to have struck up an interesting line a band that made its fi rst tentative appearance on a in fact and, although the song itself is a little more than in dialogue with Paul, consisting entirely of them secret tour of colleges a few years back. They seemed just OK, it’s given such a glossy and exactingly professional blowing raspberries at each other. remarkably rehearsed and professional. “That’s the polish that it can’t fail. Paul sings in his cre amy ‘Yesterday’ “OK, quiet please,” said the master TV technician difference,” said Paul. “As I said, in the old days t that brings a voice and there’s a delightful arrangemen above a burst of raspberries. The interviewers have we might rehearse for three days. But we’ve spent distinctive to the fore. You can bop to it, you can assured they will discuss Wings and incorporate months rehearsing with Wings.” sing along with it, or you can just listen to it and it’s equally all of the Wings personnel. In the event the camera Said Linda: “If you’re going out into the world, successful on all levels. Hit. stays mainly on Paul who is asked why, as one of it’s got to be good.” Colin Irwin MM, 24 May 1975, page 16

106 NME ORIGINALS 1974-1975

“Do you still see John?” said Paul rhetorically peering out of the window at the TV crew still coasting alongside at 50mph. “I always feel a bit weedy when I answer those kind of questions, as I should have done more. Maybe I should have gone to see John more often. Maybe I should send him a telegram.” “Maybe, if we do so many interviews, the press will get bored with us,” suggested Linda brightly. “I can’t think of anything that the word ‘press’ means that is nice,” said Paul with unexpected bitterness. But he cheered somewhat as the conversation turned to the choice of music for Wings concerts. “Well, we wanted to choose stuff from ‘Band On The Run’ and ‘Venus And Mars,’ and we thought people would like to hear ‘The Long And Winding Road.’ The records are the arrangements. We could either play the songs like the records or stretch them out. We thought people would like to hear them just like the records. Tony Dorsey has done the brass arrangements and he used to work with Joe Tex. “We’ve worked with the brass players individually before and is an old mate from Liverpool. The only problems we have had have been in rehearsals, where they were ironed out. Denny Laine turned up one day with a cut fi nger and couldn’t play for a couple of weeks. At last night’s show, I thought ‘Junior’s Farm’ was jinxed and Jimmy was breaking strings, so there was lots of bass and drums cover up. Before this tour started, I thought we should learn all the songs, and get them right. “But we all have different musical tastes, and there is a lot of room for development. For instance, Joe doesn’t do a drum solo and we could bring that in later on.” Did Paul enjoy the acoustic guitar section? “I’d never been onstage on my own before and I was a little bit nervous. Then I remembered I’d sung ‘Yesterday’ on in front of 40 million people. I love doing it.” I expressed surprise at Paul’s skill as a pianist Paul always had a and guitarist. sit-down acoustic “I started out as a guitarist. My fi rst guitar was a section up his rather sizeable sleeve Rosetti Lucky 7 – which was a plank of wood with strings. Then one night in Hamburg at the Star Club, I went on piano while “It’s better than I thought was on bass. I used it would be,” said Paul: to play piano on a lot of Ray “We had worried that it’ll Charles numbers like ‘Don’t be over-rehearsed. We Let The Sun Catch You Crying’. haven’t played to anybody So really I’ve been playing the for years and we were a bit piano long enough, so I should nervous. I didn’t mind the be able to play it!” silences during the songs at all and nobody seemed fans. That’s what’s left for me to do! I can see their Paul hinted that he actually played a lot of lead to mind the tuning-up when Jimmy broke a string point when they say, ‘You’re a family man now,’ but guitar solos on old Beatles records, but said he last night. We saw Dave ’s concert in London, Charlie Chaplin didn’t stop after making one fi lm. didn’t like to put about his various skills as an and he tuned up between every number and I used to “They say ‘Sgt Pepper’ was the best period for me instrumentalist. “I like to surprise people,” he said think that was death. and it was the best music at the time, but some of the gently. Did Paul feel the Wings tour was a drain on “We rehearsed the band down in Rye in Sussex in stuff that happens now is better than The Beatles.” his and Linda’s energy? an old cinema last summer, learning all the numbers. Said Linda: “You could go on talking about The “Thirteen dates is not a heavy tour. And we’ve got We could have rehearsed the chat between numbers Beatles forever and all of them get so bored with it.” two weeks complete holiday before we do a bit of too, but we thought that might make it seem to “Why can’t they let us get on with something new?” recording. In November we go to and all formal. Originally we weren’t going to allow that demanded Paul. this is practice for that.” As the Rolls drew up behind – chatting ad-lib. But audiences don’t seem to mind “They’re still talking about… ‘George is the the stage door, Paul remarked: “What makes me and, in any case, they seem to be Wings fans, calling religious one,’ and ‘John is the nasty one,’ and ‘Ringo want to go out on tour again – is a decent audience.” out requests for old Wings B-sides. is making movies,’” Linda laughed. “They don’t seem He disappeared into the thick of a crowd of fans, “After The Beatles – well, I didn’t think anyone could interested in the fact that this is a working band. The who magically materialised seeking autographs, be a Wings fan. The TV man kept asking me why people are up-to-date. It’s the press who don’t know while all around the offi ce windows were fi lled with

ANDRE CSILLAG/ROBERTANDRE ELLIS-REP PHOTO I kept going and I wish I’d told him about Wings what’s going on.” faces gazing down on the star in their midst.

NME ORIGINALS 107 DAVID REDFERNS-REDFERNS ER CHAPT FOUR

JOHN “Green card” for Lennon ‘(Just Like) Starting Over’ ‘Double Fantasy’ Shot dead outside PAUL ‘Wings At The Speed Of Sound’ ‘’ ‘Mull Of Kintyre’ breaks UK chart record ‘London Town’ ‘Back To The Egg’ Concert for Kampuchea Drugs bust in Japan Wings split ‘McCartney II’ GEORGE ‘Thirty Three & 1/3’ Fighting the ‘My Sweet Lord’ legal battle ‘George Harrison’ album RINGO ‘Ringo’s Rotogravure’ ‘Bad Boy’ 1976-1980

t the end of a 90- minute hearing in New York’s immigration bureau last Tuesday, A John Lennon was granted his “green card”. Effectively, this means that Lennon can remain in the US indefi nitely without fear of deportation and, more signifi cantly, he is free to travel outside the US and re-enter without any problems. The fi nal chapter in the saga of seemingly endless litigation proceedings, although something of a formality in view of all of the evidence supporting Lennon, was nevertheless an emotional scene. As judge Ira Fieldsteel announced his verdict, Lennon embraced his wife Yoko Ono and the packed courtroom burst into spontaneous cheering. A beaming Lennon looked glassy-eyed as he was immediately surrounded by TV reporters and cameramen. Among the witnesses who had given evidence in support of Lennon’s claim to live in the US were actress Gloria Swanson, author , noted sculptor Noguchi and TV The newly legal personality Geraldo Rivera. Also in the Lennon shows off courtroom were composer John Cage his “green card” August 1976 and actor Peter Boyle – both close MM, 7 , page 8 friends of the Lennons. The hearing began with the judge giving a brief resumé of the history of the case, which began when Lennon Lennon gets his last entered the US on 13 August 1971. He has remained in America ever since, refusing to risk travelling abroad lest he was not permitted to return. Next, Lennon himself was called ticket to ride to give evidence. He answered the following questions put to him by the New York: John Lennon has won his fi ve-year battle attorney, Mr Leon Wildes: Have you ever been convicted of any against the immigration authorities in the United States crime anywhere in the US? Lennon: “No.” proves that they are the most powerful The fi nal witness was Gloria Answering questions put to him by Have you ever been a member of the source of music in the last 30 years. Swanson who, despite her advancing a crowd of reporters, Lennon said that communist party or any organisation I believe we can look forward to many years, seemed a picture of physical and his immediate plans were still to be which may seek to overthrow the US new innovations in music if Lennon is mental health. “For many years I have settled. “It’s great to be legal again,” he government by force? allowed to remain in this country.” been actively interested in the physical said. “The immigration service have Lennon: “No.” Mr Trust’s second point was that fi tness of the youth of New York,” she fi nally seen the light of day. It’s been a Do you intend to make the US Lennon is a tremendous “revenue said. “My husband met John Lennon long and slow road, but I am not bitter. your home? generator. The US will be the scene in a health food store in this city and On the contrary, now I can go and see Lennon: “I do.” for the reception of that revenue if we found we had feelings in common my relations in Japan and elsewhere. Will you continue to work here? he is allowed to remain,” “The main thing is that Lennon: “Yes. I wish to continue to he added. “It’s great to be legal again. I can travel now. Until live here with my family and continue Norman Mailer was today my attorney wouldn’t making music.” next to take the stand. It’s been a long and slow even let me go to Hawaii for Mr Wildes then called on various He stated: “I think a vacation in case I couldn’t witnesses to speak on behalf of Lennon. John Lennon is a great road, but I’m not bitter” get back. Whenever I First witness was Mr Sam Trust, performer who has made fl ew to Los Angeles I was president of ATV Music Corporation an enormous contribution to popular on this subject. We must educate the paranoid in case the plane was diverted which owns the rights of Lennon’s culture. He is one of the great artists of country and the Lennons will help.” to Toronto on the way.” compositions. “There are two very the western world. We lost TS Eliot to Following the hearing, Lennon Asked why he chose to live in the US, positive reasons why Mr Lennon England and only got Auden back.” was offi cially handed his “green Lennon replied: “If I had lived 2,000 should be allowed to remain in the Mr Wildes read a letter from the card” by an immigration offi cial years ago I would have wanted to live in US,” stated Mr Trust. “The music Bishop of New York, the Rt Rev Paul and photographed accepting it. Rome. New York’s the Rome of today. scene in the US is in the doldrums Moore, which emphasised Lennon’s What seemed to puzzle a number of Now I’m going home to crack open a right now, and the current resurgence contribution to culture and praised observers was that the “green card” teabag and start looking at some travel

of The Beatles and their material him as being a “gentleman of integrity”. was, in fact, blue. catalogues.” Chris Charlesworth GRUEN-STARFILE BOB

110 NME ORIGINALS 1976-1980

WINGS AT THE SPEED OF SOUND Wings Apple

REVIEWED: MM, 27 March 1976, page 28 aul McCartney has a knack of There is no doubt that the most rock thinking. There is no great taking an ordinary statement successful songs here are those written emphasis on instrumental P and imbuing it with intrigue. by Paul but, nevertheless, both Jimmy virtuosity, and yet it is there, “Somebody’s knocking at the door/ McCulloch and Denny Laine deliver the in McCullochs guitar work, Somebody’s ringing at the bell/Open the door goods with a pair of their own, while Linda Joe English’s drumming – or, and let ’em in”. It’s the kind of thing you has the chance to whip up some high indeed, Paul’s drumming, for or I must say, ooh, at least once school rock’n’roll of the kind he sneakily swaps from bass to a day, assuming one owns she used to sing as a kid drums to back Joe’s remarkable a) a door and b) a bell. This back home in the USA. vocals on the soulful ‘Must Do My door frequently The door chimes lend Something About it’. vibrates with the thus album clears ‘Let ’Em In’ a domestic This is not an album that and clamour of callers, out the image of flavour that re-appears hits you with the sustained but as the din often Wings being a in ‘’, power of ‘Band On The Run’ warns of approaching Linda’s romp where or ‘Venus And Mars’. But, as insurance salesmen, this one-man show she lets her hair down in Linda says: “It grows on yer!” household usually responds the kitchen, accompanied And indeed it does. After five with the words “Turn out the by the sizzle of frying eggs or six hearings, many of the lights/Pretend we’re out”. Paul and and bacon. subtleties of the arrangements, the choice to become a McCartney evergreen. Linda and the rest of the Wings are much Jimmy gets his rocks off on ‘Wino Junko’, of instruments for a particular passage ‘San Ferry Anne’ is not as impressive more accommodating. They welcome us which reflects the guitarist’s hell-raising (like an unexpected burst of trombone as the finale, Paul’s brilliant ’Warm And into the front sitting-room to hear a new image, and is co-written by McCulloch and during ‘Let ’Em In’), the feeling Paul puts Beautiful’, which has a gentle, almost phrase of their musical career. his old sidekick Collin Allen from Stone The into a phrase, or simply the effectiveness hymnal quality where two tubas give a The main title might lead you to conclude Crows. Denny Laine heaps in with his ’Time of a melody, begin to swim into focus. kind of Sunday school atmosphere that is that this is a space-trucking high-speed To Hide’, but even with the spreading There are songs which are immediately quite touching (if you aren’t an incurable rap. But there is no sense of urgency about around of opportunities there is a strong recognisable as potential hit singles, the cynic). Much good music then on an album this collection of songs. It represents the unity about the performances. most obvious being the attractive ‘Silly that will engender fierce comparisons with avowed intention of giving more space to The Wings format of good songs, Love Songs’ which opens side two. But the past two albums, but will increase all the members of the band and clearing professionally performed, may not listen to the sombre and mysterious ‘The the growing worldwide appeal of Wings. out the image of it being a one-man show. always fit into the pattern of current Note You Never Wrote’, which is more likely Chris Welch

THIRTY THREE & 1/3 George Harrison Dark Horse REVIEWED: NME, 27 November 1976, page 36 hen I tell you that the first If anything, it’s his lyrical weaknesses The riff-of-the-album referred line of the song with the that are most glaring here since the album to earlier can be located on W most memorable hook is is interspersed with passages of pleasing ‘’, which “I was so young when I was born”, you guitar work. would have been the best might gather that the album in question The lyric however are never effective in choice for a single; other is no masterpiece. carrying a song. Harrison has absolutely recorded highlights can be To say that if it wasn’t for the fact that no sense of narrative flow, he can’t begin discovered on ‘’ and 1 Harrison is an ex-Beatle ‘Thirty Three & /3’ to sustain interest and has no facility at ‘Beautiful Girl’ contains the wouldn’t merit serious attention would conjuring evocative or striking images. sort of guitar chords that be grossly unfair; with a sense of fair play, ‘Pure Smokey’ is a hymn to Smokey Harrison plied on ‘Badge’ then, we shall say that if ‘Thirty Three & Robinson – and this after a track from and some Beatles work Harrison we’ve all known from our 1/3’ wasn’t by the artist who six years ago ‘Extra Texture’ was dedicated to the man. of that period. cradles and when rock released ‘All Things Must Pass’, then it Plus there’s seems to have has become completely wouldn’t merit serious attention. one non-original overthrown eclectic so that the The fact that Harrison’s star shined so – a version of Cole the self- origins of any one song brightly at the beginning of his solo career, Porter’s High Society can hardly ever be clearly only to be rapidly extinguished, seems to classic ‘True Love’; righteousness traced, then the ‘He’s confirm suspicions that his triple album George plays Ringo. So Fine’/’My Sweet Lord’ flourish exhausted his fund of ideas. On ‘This Song’ George judgement seems harsh. Certainly he’s had problems since bitterly reflects on his litigation and But ‘This Song’ apart, Harrison’s general then, most notably his penury in lyrical declares “This song came demeanour is more encouraging, as he inspiration, his thin vocals, his difficulty to me/Quite unknowingly/Don’t infringe seems to have overthrown over some of in holding a tune, his inability to write on anyone’s copyright” the self-righteousness that made him such convincing melodies – these and more While his humourless approach and an unsympathetic figure. have hardly made life easy. And all these conceit in the matter is hardly endearing, While it is an album of no particular traits are just as evident as they were on it’s not difficult to sympathise with merit in itself, it is one which leads me ‘Living In The Material World’, ‘Dark Horse’ him. At a time when Showaddywaddy to believe that his best work may not and ‘Extra Texture’. are racing up the charts with a song necessarily be behind him. Bob Woffinden

NME ORIGINALS 111 6 October 1976, NME, 1 page 15

Lisa Robinson visits Ringo Starr at home in Los Angeles, where he talks about his new album and reveals that he wants to join a circus

he living room of Ringo Starr’s home “Richard was busy, so I decided to look for someone How did you happen to get the songs from John, in the Hollywood Hills is fi lled with else. And since I was on Atlantic it was suggested Paul and George? records, Gene Autrey collectibles, I work with Arif, because he’s like the house producer. “Well, Paul asked to write a song. I asked John and and Beatles relics, including a large And since he’d just won a Grammy, I fi gured great. he worked on it and worked on it and came up with black and white photo of the graffi ti- “He fl ew into London for a day to say hello, just to ‘Cookin’ (In The Kitchen Of Love)’. You know he’s laden door at the now-defunct Apple see if we could do that together. He said he’d like to really into that now – cooking. Records’ Savile Row offi ces, on public display on the do it. And at the end I said, ‘Well, I’d still like to do it “I also asked George to write one, but there was back cover of Ringo’s new album ‘Rotogravure’. too.’ Then I said, ‘I want to do it in LA,’ and he said, an old one of his that was never released by anybody The playroom where we go to talk contains a large ‘Oh, dear’ – because he likes New York or Miami. that I always loved – I was on the session when it was set of drums. Ringo is dressed in a bathing suit, looks “But I knew everybody here (in LA), the players.For recorded – so in the end I asked him if instead of healthy and sports a gold and diamond earring. He is the next one, I’ll go anywhere he wants. I feel totally writing one could I have that old one. He said fi ne, it going to answer my questions. Here goes. secure with him; I’d go to Nebraska if necessary. saved him a job. It’s called ‘I’ll Still Love You’.” “We had Jesse Ed Davis, Danny Kootch… we even NME: Tell me a little about how you got together had Dr John on guitar on one track which was great Did you write anything? with Arif Mardin and the way “Rotogravure” because he doesn’t play guitar that often. He also “Yes, I wrote a country number with Vinnie Poncia. came about. played piano and so did , Melissa Nancy (Andrews) and I wrote one in Mexico, and Ringo Starr: “Well, it started last year; I was going to Manchester and John Jarvis. I put a mariachi band on it. Just a mariachi band record with Richard (Perry) and then that went out “John (Lennon) played on his track and Eric – from a restaurant – and me. I played maracas.” of the window… and I was getting into new contracts Clapton came down to play on his track. Then the after leaving Capitol. When we eventually signed other night, who should come to town but Paul How’d you fi nd a mariachi band? with Atlantic for the US and Canada – and Polydor and Linda? Just as we were fi nishing. We went to “We looked around all these Mexican restaurants for the rest of the world – we thought since we were dinner… and I got them on the track. It’s nice to have and found this band who were sensational. They trying another label, we’d try another producer. the people who wrote the song do it with you. don’t actually dance while they play, but they’re great

112 NME ORIGINALS 1976-1980

RINGO’S ROTOGRAVURE Ringo Starr Polydor REVIEWED: MM, 23 October 1976, page 27 he other night a friend and the country-flavour came home to dinner ‘Cryin’’ and ‘A Dose Of T and I said, “I’ve got the Rock’N’Roll’ which is being new Ringo album. Let’s play it.” released as a single, and We talked right through it. which packs a pretty Next morning in the MM office, hot punch. There’s a a writer who believes that all the McCartney song (‘Pure old rock establishment should be Gold’) which, like so much overthrown to make way for new of Paul’s work, sounds blood, heard about two notes and inane at first and then said: “That’s Ringo. You can always builds itself into your tell him, can’t you?” subconscious so that On such polarised views are great there’s the rather late careers built. Ringo does not stand realisation that it’s a for art, but for entertainment with lyrical masterpiece; a capital E. His is of easy- there’s a cosy Ringo song written by listening rock, for there’s nothing little song that does not stand George Harrison, on the album that can delight or The Beatles for art, but for ‘I’ll Still Love You’, – more depressingly – evoke a used to call a which is simplicity powerful reaction. beat-ballad entertainment itself, but then so The eyes are fully entitled, (‘You Don’t with a big E was ‘Something’. though, to pop out at the sight of Know Me At All’). A pleasing album the credits on the album sleeve: a There’s ‘Cookin’ (In of uncomplicated powerful assembly of guests have The Kitchen Of Love)’ by pop music. Faultless given the music a real strength. John Lennon, which sounds like it musicianship, simple production by The titles are strong because of was written during his ‘Walls And Arif Mardin. Ringo, the bathroom their simplicity; naturally there’s Bridges’ period, quite happy and warbler who made it, never pretends players. I don’t think they’d ever been to a recording the flashback (‘Hey! Baby’, oldie) destined for the ; there’s a to be anything else. Ray Coleman session in their lives. “So, I walk in with my mirror shades on – really paranoiac shades. And they’re all tuning up. No- Where did you hear him? What about performing? one says hello or anything. Then I take my glasses “In the cinema in Liverpool. He had three Mexican “Well, up until this year I was absolutely adamant off, and all of a sudden – ‘Hey!! One of the Bottles! guys behind him singing and he had his guitar. It I would not perform. Never, never, never. I just didn’t Hey!! De Bettles!! Binga-loo!! Pappa-lay!! One-a-da- was Elvis – I mean, when I was eight, he was as big as want to get a band together and front ’em and give Bodles!!’ I just fell to the fl oor.” Elvis. It knocked me out. I bought all his albums.” you an hour and a half of me. “I loved the Bangla Desh thing because it was one- I’ve never heard anyone badmouth you. You have What about your country album? off and I did with Dylan, which was great a lot of friends who are musicians and they all play “That came about after I’d met Peter Drake in the because there was a lot of us and it wasn’t just you on your albums… studio with George (Harrison). Drake noticed that out there. So now I’ve been thinking I’d like to go “Well, that’s because I’m too nice. Or they only see I had a lot of country tapes in my car. I told him out with a circus. Not elephants, but a circus. Dylan’s me on a nice day. I’m like anybody else. I’m real I liked country, and he said, ‘Well, why don’t you do was that way and Bangla Desh was that way, and pissed off on Tuesday morning sometimes and give a country album?’ I said, ‘Oh no, I’m not going to mine would be my way…” everyone a hard time.” sit around Nashville for six months’ – because that’s how long it used to take us to do an album. He says, What would yours be like? But you’ve managed to sort of keep a certain ‘It doesn’t take that long… I did ‘’ “I’m not telling you because it might not come off.” musical community together… in two days.’” “Yeah, I know. I always feel lucky and Well, is there a reason why you – or I don’t know why it happens to me half any of the other Beatles – might not the time. There isn’t a player I know or be able to do anything until 1977? I’ve heard who I don’t feel I could call I know John said he didn’t want to and they’d come and play for me.” do anything ’til then… “Well, the reason John said that is How does this album differ from because he just feels like having a year your other albums? Were you ever unsure of yourself – carrying off, with no contractual obligations to anybody, no “The tracks are different. It’s still basic rock’n’roll a whole album? record company or anything. He’s his own man for pop. It’s either slow or it’s fast, apart from the one “No, not really. See, I don’t think I really have a 12 months and he’s never been that. I’m not, because with the mariachi band. And I always do a country monstro voice, it’s a personality voice. There are I signed up right away. The reason I haven’t been number, because I love that.” a lot of singers out there who can really sing me performing, though, isn’t due to any contractual off the edge of the world but I’m sorry – they don’t problems – it’s just because I’ve only just got round I notice all the Gene Autrey stuff in the house. do anything to me. But once my voice comes over to thinking that I want to do it. “Well, he’s my hero. He was my fi rst musical on the radio or record, you know it’s me. Unless “At the end of the year I’ll start getting what we experience as a kid. I remember getting shivers up I’m singing surprisingly well, everyone can tell it’s didn’t tell you on the tape we’re getting together… so

PHOTO FEATURESPHOTO me back when he sang ‘South Of The Border’.” me straightaway.” you’ll never know.”

NME ORIGINALS 113 1976-1980

1 December 1976, NME, 1 page 22 George Harrison talks to Lisa Robinson about the legal fi ght over ‘My Sweet Lord’ and opens up about the last days of The Beatles

114 NME ORIGINALS 1976-1980

itting in his Los Angeles home at the top “The entire lawsuit was hinging on the fi rst three we were together for 17 years until we split. People in of Beverly Glen Canyon, wearing a denim notes of the song, as well as the four notes of the America think that we got together around 1964 and jacket trimmed with satin and a Dark chorus, but the sheet music for that song was just split up in 1968. But from 1956 I was hanging around Horse T-shirt and smoking Gitanes, what happened to come out on that recording date. with Paul and, a little bit after, John. George Harrison seemed younger, For all I know some of those notes could have been “When you’re so close, you tend to lock each other smaller and far more good-humoured arranged differently on another take. up in pigeonholes. Musically, with Ringo and John than the image he’s acquired over recent years. “I guess I fi nally realised that the songs sounded I had no problem. But with Paul, well, it reached He did not seem to me like a desperate man. similar when the song came out on the radio in 1970 a point when he wouldn’t let me play on sessions. “This is an important time for me,” he opened. and a few disc jockeys got off on the idea. But you can “It was a part of our splitting up. But at the same “I think I need to come around again like another listen to a number of records and hear other songs in time I have a tendency to defend Paul – John and lap. You know, ‘Remember me folks?’ I think it’s time them. I don’t consider it a lift because in my mind Ringo too – if anyone else said anything without I talked to people. I haven’t really said much in the I was trying to do ‘Oh Happy Day’. qualifi cation about them. After going through all that last couple of years.” As for the effect of the lawsuit: “It was a heavy together, there must be something good about it. For the next four days following this interview, emotional thing to go to court and play the guitar. “It’s just that around 1968 everyone’s egos started Harrison would, indeed, “talk to people” at some “All the secretaries from the other court came going crazy. Maybe it was just a lack of tact or length. Accompanied by the president of Warner along. It was like, ‘Oh, let’s go see George Harrison discretion. Probably the biggest problem of them Brothers, he fl ew the company jet to Chicago, Boston, doin’ a concert in court.’ all was that there was no way Yoko Ono or Linda Washington DC and New York. In each city he met “Personally, I don’t feel it damaged me. If it was the McCartney was going to be in The Beatles. That radio and press people at lunches and/or dinners in only song I’d ever written I’d feel bad, you know? But really helped put the nail in the coffi n. his honour, previewed his ‘Thirty Three & 1/3’ LP I just feel annoyed, because of the motives behind.” “That’s said without any bitterness against Yoko with Python-esque movies he’d made, smiled, posed and Linda, because I can really enjoy them as people, for photos… the whole trip. HARRISON HAS ATTEMPTED to retain his sense but, let’s face it, The Beatles were not with Yoko or The afternoon that we talked was before the LA of humour about the ‘My Sweet Lord’ situation; his Linda. I suppose it was a result of Yoko being an reception in the posh Chasen’s restaurant and George new single, ‘This Song’, has lyrics that refer to the outsider, coming in… and John was pushing her… seemed to be looking forward to his schedule. court case: “This song doesn’t infringe on anyone’s and she had such a strong ego anyway. Then Paul got Certainly, Harrison has not had an easy time of it copyright/This tune there’s nothing ‘Bright’ about it” Linda to get his own back. these past years. He admits to being unhappy with (The case was called Bright Tunes vs Harrisongs). “I haven’t seen Paul since his party on the Queen recent “negative” albums and his 1974 US tour met “It has put me through a real bad period of paranoia Elizabeth a few years back. That’s the only time you with a largely negative response. In addition, he has though,” he said. “Every time I pick up the guitar to can see him anyway, when he’s having a party. been recovering from a bout of hepatitis this past play something I think, ‘Uh-oh, this sounds like…’ “Who wants to be invited to a party of Paul’s and summer and was fi nishing up his album at the time I can’t help it, I do it all the time now.” fi nd yourself another statistic in a pop paper? They he was successfully sued over ‘My Sweet Lord’. To change the subject a bit, is it diffi cult being an have all these camera people to show who came to his When he returned to LA with the new album ex-Beatle? party… I don’t want to meet an old friend like that. under his arm, George was informed “The only thing that would get us that A&M Records (which housed together again is if we really wanted both George and his Dark Horse to be in each other’s company so label) had brought a suit against him badly and to make music together.” for “non-delivery” of the LP. Wouldn’t the problems be the same? That legal hassle was settled out of “They probably would. Like in court and George quickly switched to the fi lm Let It Be, that part that was Warner Brothers, for both himself and Dark Horse. “Yes,” George smiled. “As Derek Taylor would so awful for me to see. Where I say, ‘Look, I’ll play George admits that he is getting used to lawsuits. say, being born in Liverpool carries with it certain whatever you want – I’ll play if you want me to play, “We started out as musicians,” he said with a wry responsibilities.” but just shut up with all this.’ That’s no fun. smile, “and we’ve got sucked into it as if we were As for the inevitable Beatles reunion question: “That was the day I left. For me that was when lawyers and accountants. “Well, that man who offered us fi ve million dollars I made my decision, it was the fi nal straw. “A lot of people sue people like us because it’s was supposed to promote a match between a man and “We’d gone through the ‘White Album’ which was aggravation for us; they think we’ll settle. The guy a shark. So my suggestion was that he fi ght the shark misery. That was when all the women were coming who wrote ‘He’s So Fine’ actually died in 1967 or and the winner could promote the Beatles concert.” in. That album went on a long time, but we just made 1968 – he never even heard ‘My Sweet Lord’. And I’m George had said, before his 1974 tour, that he would it through. Then I went to LA to do an album with sure if he was a musician he wouldn’t have fl inched. never play with Paul McCartney again. for Apple. I’d been hanging out with But the guy who was his accountant… he saw this as “I can’t see it,” he says now. “Obviously, if we did all these musicians in , went back to money pouring out of the sky. we’d compromise.” England for Christmas and on 1 January we four got “There are different mentalities. People who go “But you know, I went to school with Paul. He was together for what was to become ‘Let It Be’. out of their way to do something like that, to copy a year older than me. I met him when I was 13 and “The very fi rst day, as soon as we got back together something, and then there are musicians playing, Paul went into this ‘You do this, who realise that all music is in some you do that, don’t do that, don’t do this’ way related to something else.” and I thought, ‘Christ, I thought he’d have When you fi rst wrote ‘My Sweet woken up by now.’ Lord’ or played it back did you think “He seemed so understanding when he’d the two songs sounded alike? sing songs like ‘Let It Be.’ He comes over “No. I went through all this in court. as sort of hip to that, but when it comes to See, in 1968 the big song was ‘Oh practising it was just misery.” Happy Day’. I thought it was great to You didn’t go home and sit in your be able to do something both spiritual garden and cry? and commercial. What’s the point “No, I went home and wrote ‘Wah Wah’. of doing something no-one’s going But then we got together to fi nish ‘Let It to hear? I wanted to come up with Be’, which was a fi lm and an album of us something like that. Incidentally, the rehearsing. Then somehow we did ‘Abbey chord changes on ‘My Sweet Lord’ and Road’ later, although it came out fi rst. At

REDFERNS/CAMERA PRESS-ROGER DI VITO DI REDFERNS/CAMERA PRESS-ROGER ‘Oh Happy Day’ are the same. least it was a nice album to exit on.” George’s guests dressed down for the ‘Thirty Three & 1/3’ launch party NME ORIGINALS 115 1976-1980

November 1977, p MM, 19 age 8

From the Virgin Islands to ‘Mull Of Kintyre’, Paul McCartney talks to Chris Welch about pipe bands and and explains why he will never play his most famous song ever again

aul McCartney swears he will never Islands, then up in Scotland. The results are a new “We had a recording boat and two others we stayed play ‘Yesterday’ again. Not since a album due out in February, and a new single, ‘Mull on. We didn’t have any problems with salt water in review in which, he claims, I said that Of Kintyre’, out now. the machines or sharks attacking us. At night there I thought he would play it forever. Wings have also suffered the loss of two of their was much merriment, leaping from top decks into “Surely not,” quoth I. “Oh yes, you number in recent months. But as Paul explained, uncharted waters and stuff. I had a couple too many did. Prat,” says Paul. “Pranny.” And he wasn’t too worried. He would be quite happy to one night and nearly broke something jumping a lot worse besides. But I didn’t remember saying play at Joe’s Caff with Denny Laine, his old mate, on from one boat to another. But then you always break anything worse than the last Wings concert in guitar. And they may even do that next year. yourself up on holiday. London had lacked the spontaneity of their earlier But fi rst Paul gave me an ear-bashing for smiting “The studio worked out incredibly well and round-Britain concerts. his work. What could I say? If more artists spoke the very fi rst day we got a track down. There was a Surely I didn’t slag off ‘Yesterday’, one of the great up for themselves instead of brooding or plotting nice free feeling. We’d swim in the day and record popular songs of our time? Why, it always brings a violence, a good deal of the unpleasant tension at night. lump to my throat or a tear to the eye. “Oh yes you that affl icts rock today would be dissipated. Paul “We had written most of the songs beforehand. did,” insisted Paul. “I remember everything. All explained how even his daughter, as a member of the Denny and I wrote a lot of stuff last summer. We that stuff about ‘Yesterday’ – it’s engraved on me public, had fallen foul of duff reviews. stayed a month on the boat and by the time we forehead. I’ll never play it again.” “My daughter went to see . She’s into recorded it the songs just seemed to work. But somehow I don’t think Paul would take punk… well, she’s the right age. She came back a “You’ll have to tell me when you’ve heard the such advice or a less than enthusiastic review too changed person, over the moon, just loved it. record if there is any boat feeling in the music. I think seriously. For someone who has been at the centre of “And the next week, a review appeared in one of there is. the rock whirlpool for 15 years (count ’em) he is a bit the papers… and it was a terrible review. ‘The bass “We’ve come back to Abbey Road here to fi nish it too long in the tooth and experience to start getting player was ineffi cient’, same old technical crap, all off. We’re overdubbing and putting main vocals belligerent or suicidal. y’know. Reviews are always wrong. But come on, on. We did nine tracks on the boat. He reserved himself a go back, which was delivered let’s get off critics.” “I’d like to play you some of the stuff but I can’t in forthright, but unmalicious tones. Paul had been strangely inactive for a year. really, because it’s gonna be so far in advance of “I thought your review was shit,” he greeted me “No,” he said fi rmly. “Not release it would be silly to play pleasantly, in the bowels of number two studio at inactive. Very active. But in you anything now. Abbey Road last week. It was here that Paul and the studio and on boats. We “You’ll hear a track and say it’s the rest of The Beatles recorded so many classics went to the Virgin Islands. very nice and then we’ll change – ‘Yesterday’ included. “We hired a charter boat it all around. But there is an up Now it was decorated like a Parisian pavement café that people use for holidays. feel to the music from being on with tables and umbrellas and plants. The captain went spare when a boat. We got moved on a lot “Just to give it a little atmosphere,” he explained. he saw all the instruments. We for being naughty rock’n’roll While Wings seem to have been quiet since those last remodelled his boat for him, people infesting the waters. concerts (still referred to by radio DJs as among the which he wasn’t too keen on. “We moored at the island greatest they have ever seen), in fact, they have been “We converted his lounge into called St Johns and it’s a busier than ever. Paul and Linda have added another a studio and we turned another national park. You must not child, baby James, to the family, but Paul kept on deck into a sound control room, play amplifi ed music. I think

recording, fi rst on a fl oating studio near the Virgin and it was fantastic. they mean trannies. PLUMMER BARRY What a waistcoat: Macca talks to MM’s Chris Welch 116 NME ORIGINALS 1976-1980

NME ORIGINALS 117 1976-1980

“But we had a whole thing going. You could hear it for miles. We got fi ned $15. “I’ve been working out of London for a long time and when it’s raining and it’s boring and there are power strikes, you do start to think, ‘It would be great to get away.’” Did many great new songs come out of this aquatic experience? “Well, I never really like talking about it. I like it. People who’ve heard it like it. It’s nothing like the live album of course. It’s just a new studio album with a lot of songs on it and no big concept idea. “But you can never tell, you know. ‘Sgt Pepper’ wasn’t supposed to be a concept. That was just a collection of songs.” But not a bad collection. “You can’t tell, they may all suddenly run together and mean something. It won’t be out ’til February, so I don’t want to start dropping titles yet. It’s cooler to wait until the time comes. “There’s no title for the album. I didn’t get where I am today by giving titles ahead of time. “Jimmy McCulloch and Joe English (guitar and drums), who are not longer with us, did all their stuff before they split. “They were on the boat, and now Denny and I are just fi nishing it off. Wings is a trio at the moment. “A couple of years ago I used to worry if anyone left; ‘Oh God, I can’t keep a group together.’ “But I don’t worry now – there’s no need to keep it altogether all the time. I’m more interested in the Filming the ‘Mull Of music and, if we can do that, I don’t mind how it has Kintyre’ video with to be done. the Campbeltown Pipe “Next year we won’t do anything live until the Band, November 1977 album is out, because we wanna go out with some new stuff. “I mean, you didn’t like us playing all the old stuff. “Well, yeah. He’s a good lad, Jimmy, a good “I did the drumming on ‘Band On The Run’ and, Yes, I could quote your bloody reviews to you, Welch. guitar player, but sometimes he’s a bit hard to er, that did all right. I can’t drum technically very We’ll get some new stuff together and think about live with. It’s pretty well known in the biz and we well but I can hold the beat and to me that’s what you going out again. just decided it would be better if we didn’t bother should be able to do if you’re a drummer. “We’re not worried at the moment. Joe needed to go any more. “It’s nice to be a bit fresh but I like a drummer who back to America because he is extremely American “It got a bit fraught up in Scotland. He’s with the just holds the beat. So here we are – back to being a and isn’t struck on Britain. now, but he’s done a lot of nice guitar trio! No sweat. We’ll just continue like this. “It’s not everyone you can persuade Britain is an on the new album and on the boat he was incredibly “It’s easier now there are less people to deal with. OK place to live, you know. He’s used to things like together. He’s really into playing heavy rock.” We can make decisions quicker among ourselves.” late-night telly and hamburgers. Linda is not really Was Paul looking for a replacement guitarist? But what will Paul do if concerts are planned? They American, in inverted commas. She doesn’t miss any “No, not really. I’m getting letters from guitar can’t play live as three-piece surely? of that at all, so she tells me anyway. players. But me and Denny both play guitar, and if “Well, gigs have started to come up. But with having “Jimmy’s thing was… another type of thing. He it’s not live we can work out the guitar things. And if the baby this year… that sounds a bit un-rock’n’roll, wanted to make a move. I don’t know how long he we need to overdub, I can play drums too. doesn’t it? But these are the realities you’ve got to was with us. I don’t keep track of time. Since before ‘Venus And Mars’, whenever that was.” Jimmy was quite an extrovert I believe?

Nice cover pic of the isle of Davaar off the West Coast of Scotland. This is a tribute-in- song to the area in Argylshire where Friendly Macca has his twee little hideaway. The Campbeltown Pipe Band, with whom Wings posed for the cover of The Campbeltown Courier all sound good, especially Johnny Sinclair, but the song sucks on ice. Charles Shaar Murray NME, 19 November 1977, page 35

118 NME ORIGINALS 1976-1980

“But it’s a double A-side. The other one, ‘Girls’ School’, I wrote after reading the back pages of those American entertainment guides. These days there are whole pages of ‘X’-rated fi lms, you know the porn page? “It’s all titles like School Mistress and The Woman Trainer. I just put them all together in the lyrics and called it ‘Girls’ School’. It’s about a pornographic St Trinians. “We made it a double because the B-sides always get swallowed. You never hear them. At least ‘Girls’ School’ will get played a bit. “‘Mull Of Kintyre’ is different from anything we’ve done before… but sure, it’s Wings. It’s defi nitely not punk. No, I’ve not seen any punk bands. Yeah, it’s a good thing innit? Like everyone says? “In interviews, everyone says, ‘It’s very good for der business… it’s for young people… it’s good to see it.’ Waaal, you’ve gotta have something of your own, haven’t you?” Had Paul lost his audience in the meantime? “What, to punk? Nah, it’s a different audience altogether. To me, punk is more important than glitter, and a lot of the stuff that’s been going down in the past few years, just because it’s got a bit more balls to it. “It’s a fashion, so it would be silly for us to attempt to go along with it. It’s not what we’re about. “We never even used to do that when The Who was doing it. Know what I mean? I can hear a lot of Who in it, Bryan Ferry and Dylan too, and Lou Reed. “It’s Velvet Underground, New York stuff type stuff, but the British kids do it best at the moment. But I’m not into it, I wouldn’t pretend to be. It’s just a different kind of music. “Instead of sitting down, they’re jumping up and face, and I just didn’t fancy Linda being onstage at the famed studio. “‘Love Me Do’ was done about down. Great, nice one.” the Peterborough Empire and having to rush off to where Denny is playing right now. I thought I detected just the faintest hint of sarcasm hospital. It’s a big number, having a baby. “The studio hasn’t changed since then because they in Paul’s otherwise encouraging noises. “So, we decided to get ourselves a drummer don’t want to change the sound.” A fi lm is being prepared of Wings on the road in or guitarist. Or we may have another think. We Meanwhile, here was Paul, 15 years later, talking America. How was that progressing? might change the whole line-up and go out with about yet another single, in the room where so much “It’s being mixed and the sound is being put on by something different. history was launched. This time it’s ‘Mull Of Kintyre’ Chris Thomas out at Wembley and they’re thinking “But seeing as we’re not accepting any dates at the and, says Paul, “It’s Scottish. It’s different from the songs of putting the concert stuff together with some moment, we’re not bothering. It’s no big sweat. We we did on the boat, we thought it should be a single, and documentary stuff and making a TV show. could always go on as me and Denny with a couple of it sounds very Christmassy and New Yeary. “It’s working out great, but I don’t know when it will acoustics. We’d have a laff anyway! “It’s kind of a glass of ale in your hand leaning up be released. You can’t worry, because other people “Denny and I have written together on previous against the bar tune. We had the local pipe band join have tried the same thing and it hasn’t worked. albums but never more than one “If you’ve got a fi lm, you’ve just got to tune. Then, in summer ’76, we sat fi nish it and see if it works. That’s the down and wrote a bunch together. “‘Mull Of Kintyre’ is Scottish. stage we’re at. It’s good to have someone to “We’ve got all the stuff shot. It was bounce off. We thought it should be a single. going to be a concert movie but we “To tell you the truth, we haven’t decided, as we don’t go to concert got really into songwriting together It sounds very Christmassy” movies ourselves, and we’d rather see yet, but we did write a few where One Flew Over The Cuckoo’s Nest, we’d we’d patch each other’s songs up. in and we took a mobile studio up to Scotland and make it a TV special, so at least you don’t have to go “The next stuff we write will be more half and half. put the equipment in an old barn. out of your nice warm house to see it. We haven’t actually tried sitting down and writing “We had the Campbeltown Pipe Band and “It sounds a bit boring, but it’s better than it sounds! from square one. We’ve been helping arrange each they were just great – just pipes and drums. It was I didn’t even see . I just don’t think others’ songs.” interesting writing for them. You can’t just write they work somehow. I’ve seen so many psychedelic At this point we are joined by Denny Laine and any old tune because they can’t play every note in rock dreams – climbing mountains and stuff.” Paul introduced us thus: “This is that cunt who gave a normal scale. In the New Year, would Linda want to go on the us that bad review. Fuckin’ ’it ’im.” “They’ve got the drone going all the time so you road again? “No hard feelings,” said Denny with surprising have to be careful what chord you change over the “Yeah, I think so. It’s just different for us. A couple warmth. I began to feel like a traitor to the cause. All drone, so it’s a very simple song. of years ago, I used to read the papers and think, we needed now was and Ian Anderson to “I had to conduct them very heavily. It’s a waltz and ‘You’ve got to be like everyone else. If everyone else is walk in, waving back issues of the MM. an attempt at writing a new Scottish tune because putting make-up on, well you’ve gotta do it.’ Denny joined us at the table and began strumming all the other Scottish tunes are old, traditional stuff. “But now I’ve grown out of that, realised whatever

GETTY IMAGES his guitar. Paul pointed out the various features in And I like bagpipes anyway. I do is my thing.

NME ORIGINALS 119 1976-1980

“There was one point where we felt we had Picture caption to be onstage every night if we were going to be in here please in here thanks any good. LONDON TOWN “But when it comes around to the right time, we’ll do it – go out and play. Wings Capitol “We actually fancy playing in some small, steamy REVIEWED: MM, 1 April 1978, page 19 clubs and get back to the people right there and t was once remarked, quite although ‘London playing to them for a laugh. wisely, I think, that while Town’, the title “So we’ll probably do that next year. We keep IJohn Lennon was capable track, does give a wanting to do a residency. We’d like to get a little of occasional brilliance, his glimpse of why he club somewhere and build an audience. We’d like to intervening periods were often values his Marks & get a great little scene going for a couple of weeks. spent languishing in mediocrity. Spencer image so “We did it on our old university tour, which was Paul McCartney, on the other hand, much. ‘Don’t Let It the fi rst thing we did. And cheap tickets. I love all was gifted with being, at worst, Bring You Down’, that – if we could charge 50 pence or something. annoyingly average, frequently too speaks for itself. People expect bootleg prices all the time. good and spasmodically brilliant. Otherwise it’s the usual gloss and a slightly more controlled pace, “There’s a scene in the fi lm we’re doing where a Applying that logic here, we fiction fodder. cajoling rather than demanding, fellow is offering a girl £3 tickets for £20. We’d like to can reasonably assume that It’s funny but even before hearing and is very reminiscent of early get away from that situation of ‘You are now coming a bit of inspired music is due from this album, I had expected a good Beatles compositions. to see this extremely expensive group!’ Macca. The four years since the one from McCartney. My absurd I’d be interested to hear just how “I’d much rather have people come in at classic ‘Band On The Run’ have reasoning was that the bland old the number is. I’m still trying to lunchtime, or after work, have a little dance and a been marked by some of the most ‘Mary Had A Little Lamb’ preceded figure out what ‘Morse Moose And cheese roll. We might have a couple of lunchtime ordinary material the Great One has ‘Band On The Run’ and, with ‘Mull The Grey Goose’ is all about. sessions next year. ever penned. Of Kintyre’, I just felt that It’s divided into three powerful “I fancy getting into all that, where it’s not as ‘Venus And Mars’ McCartney was preparing sections, starting off with with a precious. That’s what ’appens when you get… big. and ‘At The Speed the same sort of powerful instrumental, dropping I suppose that’s what the punks are up against. Of Sound’ were, ‘London opening salvo. into a vocal melody that I swear is “You can get trapped in all that tinsel and glitter, in retrospect, Town’ is a Though I the Irish traditional tune ‘Follow like Rod Stewart. I’m sure he doesn’t really want to be rather was initially Me Down To Carlow’, and then into like that. The fi rst thing you want to do when you see mundane by positive reaction disappointed with a weird ending that has flutes and someone on a pedestal is knock ’em down isn’t it? his standards to McCartney’s ‘London Town’, other woodwinds blurping from “But what we want to do is fi nd a gig in the centre and the triple- limp phase concentrated the speakers. Very strange but very of London, so all the kids who are working in the album ‘Wings playing has hypnotic. Denny Laine co-wrote it. offi ces can come and hear us. Over America’, uncovered many of its Laine also helped to write ‘Don’t “It’s based on the old Cavern idea. You tumble out was wearisome. delights. It could possibly Let It Bring You Down’, ‘Children of bed, play a couple of sets, have a couple of pints, ‘London Town’, then, is a have been a better album had Children’ and ‘’ and tumble back to bed. No, not at the posey places, positive reaction to McCartney’s Paul allowed somebody to exercise and it seems that he has exerted somewhere like Joe’s Caff, in the basement. limp phase (a severe description?) more control. That is the area in an unusual folk influence on all “We’ll see. We’ll probably end up doing 50,000 and although it is not a set that which he misses his fellow Beatles, three. The characteristic is the dates in America! The real truth is, we’ll do what we bears comparison to ‘Band On The and particularly John Lennon. chopping acoustic guitars in the fancy at the time.” Run’, it is nonetheless a fine album, One thing’s for sure: Denny background. ‘Don’t Let It Bring You Was Paul happy to be in Wings as a working with McCartney producing odd Laine isn’t the man to do it. Thus Down’, with a sweet, whistling environment. flashes of his undoubted genius. Paul is allowed to run free and chorus, particularly seems to have “Oh sure. We’ve actually done quite well, despite all Lyrically, the songs are as record duff stuff like ‘Backwards traditional origins. the slagging off and the bad reviews. The main thing anonymous as McCartney has Traveller’, a weak rocker that melts ‘Girlfriends’ is also acoustically is the music, it’s not the bread, it’s not the fame, it’s ever been since The Beatles split. into an instrumental that never based and this one, I think, features not the acclaim, it’s not even the reviews, it’s down to For some reason, he has always resolves itself, ‘Famous Groupies’ Linda singing more effectively than whether you like the music or not. And this stuff we’re felt impelled to keep himself to the predictable whimsical shot I’ve heard her before. The voice is doing now… we like,” said Paul emphatically. himself and there’s no change here, that falls flat and the usual glut of tight and high-pitched on a bopping , ‘I’m Carrying’ and pop song that is very deceptive. ‘’, a particularly That leaves two numbers. The Have they had incongrous piece of writing. openers, ‘London Town’ and ‘Safe their chips? The The album, clocking in at nearly On The Left Bank’, the finest tracks new, three-piece Wings in 1978 52 minutes, could have existed on the album. ‘London Town’ is comfortably without the dross. constructed beautifully and moves Being especially fond of sweetly along, broken skilfully by McCartney when he’s let loose on a striking slide-guitar break, while a good rocker, I find myself really ‘Safe On The Left Bank’ is pure liking ‘I’ve Had Enough’, ‘Name ‘BOTR’ feel, taunting and raunchy. And Address’ and ‘Morse Moose The two songs provide a perfect And The Grey Goose’ (eh?). introduction to the album. ‘I’ve Had Enough’ is a fiercely ‘London Town’ takes a bit of threatening mover, primed by a getting into. It’s not McCartney at pumping guitar riff, headed off by his best. It’s McCartney approaching a great, thudding rhythm section his best and I’m grateful for that and capped so harshly by Paul’s alone. He proves here that he’s still strutting rock’n’roll vocal. It’s a the man when it comes to writing type of song at which he excels. either a tear-jerker or a mean ‘Name And Address’ is taken at rocker. I love him. Harry Doherty BARRY PLUMMER BARRY

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(I am over 18) 20J George has removed himself GEORGE HARRISON from the material world so successfully that his records George Harrison Dark Horse reach us from a strange time- REVIEWED: MM, 24 February 1979, page 29 warp – as if nothing had happened since 1967. This is s I lay me down in the wobbling speeds instantly recognisable and green pastures of Meymott employed in the final instantly icky. Sample Lyric A Street, I muse that but for chorus of ‘Soft-Hearted (from the B-side): “You’re an accident of geography I could be Hana’. If you’re not ready a baby, just like moving the tanks on the battlefront for it, you could fear your a snowflake falling”. in Vietnam. Instead I’m sitting here turntable has developed Simon Frith MM, 24 February 1979, page 24 with a pack of cigarettes, a cup of Parkinson’s disease. coffee and George Harrison’s latest The musicians album. So one counts one’s blessings include Eric (who and taps a reflective toe. plays the intro to George has never been a dynamic the first cut ‘Love rock’n’roller, certainly not since the Comes To Everyone’), I really don’t want to slag days of Ye Olde Beatles. More for him Andy Newmark off yet another Wings the laid back beat and the wry lyric (drums), Willie offering, but they haven’t reflecting his bewilderment at the Weeks (bass), Neil given me any option. aggro that goes on around him. Larsen (keyboards), A year ago, everyone did It’s good to note that George It’s good their token cut. seems a lot happier and more at one (percussion), and revving up at the Nowadays it’s switched with the world these days. He took to note that beginning of to the token disco track, ’s joshing in in (Polymoog) with George seems ‘Faster’, a song so that’s what Wings good heart and lightheartedness George on guitar a lot happier and inspired by Jackie have done. It’s crammed seems to infiltrate the music on this and vocals. Stewart and with flaky icing which leaves the stomach emptier than latest album, almost to the point of It’s an album at one with Niki Lauda which when you first set out. Paul may never have claimed to lightheartedness. Eric Clapton first that grows in its the world reflects George’s provoke, but even if you only want to entertain, it’s got to played me this a while back and effect after a few dedication to the be more substantial than this. chuckled gently over the curious plays. I began especially heroes of Brands Hatch. Ian Birch MM, 7 April 1979, page 31 to like ‘Love Comes To ‘Dark Sweet Lady’ has the chiming Everyone’, ‘Not Guilty’ and guitar chords which are a Harrison ‘Blow Away’. The chords roll trademark, and George sings with and tumble, the melodies are ringing sincerity. good to chant and the lyrics George has an answer to all the are simple to tell their story. world’s problems (or some of them) What a big, ringing On ‘Not Guilty’ Harrison is with ‘If You Believe’, on which he sound. Congrats, Chris fairly specific as he says “No says, “Everything you thought is Thomas… the song’s use handing me a writ while possible if you believe…” Actually, so stripped down to the I’m trying to do my bit/I don’t I’d subscribe to that theory. hook that you can’t miss it. expect to take your heart/ So, rock on George. With producer Enter the headbanger – I only want what I can get”. Russ Titelman, you’ve brought both I don’t begrudge this Amen to that. sun and moonshine into our lives. My one its obvious success. The sound of Formula mum says she’s never heard of him, Vivien Goldman George Harrison: One racing cars are heard but then life’s like that. EJ Thribb now with added MM, 9 June 1979, page 32 va-va-vroom

MM, 7 October 1978, page 1

No point in mincing pies about this one. Paul McCartney dons Santa Claus drag, pulls out his pocket calculator and knocks off a grotesquely twee piece of festive nose-scrapings utilising a tune of his own creation so twee and so banal that it makes ‘Mull Of Kintyre’ sound like John Coltrane’s ‘Naima’ by comaprison. God knows McCartney has hit some musical troughs in his time but this hideous offering shuts down even ‘Mary Had A Little Lamb’ as Our Macca’s worst recording to date. The B-side, by the way, is ‘Rudolph The Red Nosed Reggae’. NME, 24 November 1979, page 37 BRAIN ARIS

122 NME ORIGINALS 1976-1980

BAD BOY Ringo Starr Polydor MM, 9 JUNE 197 9, PAGE 9 he exact number REVIEWED: NME, 8 July 1978, Page 26 will not be known, ingo is Ringo. Unlike Bowie, Dylan and but bagels by T is more effective than their ilk who try on and discard personae their thousands stuck waving flags. It works. It’s like magic. as often as they change their socks, Ringo’s in New Yorkers’ throats R Magic is real. The secret of it is to know personality has stayed pretty much the same for on Sunday morning. The that it is simple and not to kill it with the last 16 years and his music tends to reaffirm cause was a full, back page an elaborate ritual which is a sign of , this consistency. Wether he was singing country or ad in insecurity. When somebody is angry ennon cabaret, it was the music which was altered by the taken out by John L with us, we draw a halo around his or and Yoko Ono. her head in our minds. Does the person encounter, not Ringo. , “A love letter It has headed stop being angry then? Well, we don’t ‘Bad Boy’ is mainstream pop and he from John and Yoko to the people does it well. Amiable performances know. We know, though, that when we who ask us what, when and why.” draw a halo around a person, suddenly of pleasant songs, carried along by Other highlights McCartney It’s appearance in New York was the person reminds us that everyone a backbone of solid skin-bashing are ‘Tonight’, a fine love song, followed by a broadcast of the text has good inside and that all people that is Ringo’s hallmark (this is is now a mere and the self-penned ‘Old Time by Capital Radio. who come to us are angels in disguise ve the man who put the Beat into dilettante, but Relovin’’, though most of the This is what John and Yoko ha carrying messages and gifts to us from The Beatles). album maintains a high level to say – hang on to your haloes: the Universe. Magic is logical. Try it. He compiles the album with Ringo has of enjoyment. The past ten years we noticed We have still got a long way to go. everything we wished came true in its care. Standard pop by such as character I have a good deal of affection It seems the more we get into cleaning own time, good Gallagher & Lyle, Peter Skellern and for ‘Bad Boy’. Compare this to The the faster the or bad, one way wishing and Ian McLagan mixed with slightly more Rutles or ‘London Town’ and Ringo or the other. We receiving process unusual fare like a Lil Armstrong tune and a knocks them both for six. kept telling each gets. The house reworking of The Supremes’ ‘Where Did Our Love Go’. Innes and McCartney are now mere dilettantes, other that one is getting very But Ringo’s great strength is his but Ringo has character. Middle-age pop it may be, of these days we comfortable now. unpretentiousness. It means he can do a smarmy but he makes up for it with humour and modesty. would have to Sean is beautiful. song like ‘Heart On My Sleeve’ and, by singing it Something of The Beatles’ spirit lives on in the get organised The plants are absolutely straight, he cuts out all the insinuating darker recesses of these songs. A splendid time is and wish for only growing. The cats good things. smugness of the original. guaranteed for most. Graham Lock are purring. . . Then our baby and there is love arrived. We were between us, our overjoyed and city, the country, at the same the Earth. If two time felt very people like us can responsible. BACK TO THE EGG Wings EMI do what we are Now our wishes doing with our lives, REVIEWED: MM, 9 June 1979, page 36 also affect him. We felt it was time for any miracle is possible. It’s true, we can he voice of Paul McCartney has always been us to stop discussing and do something do with a few big miracles right now. about the wishing process. The spring something special. From rockers to ballads, The thing is to recognise them when cleaning of our minds. he stamps a song with a uniquely warm they come to you and to be thankful. T We kept finding things in those old First they come down i n a small way, timbre and tone as distinctive as it is powerful. we hadn’t closets in our minds that then they come in rivers and oceans. His compositions are often brilliantly conceived till there, things we realised were s The future of Earth is up to us. too, and by now it’s reasonable to accept that a wished we had never found. As we Many people are sending us vibes complete generation of record buyers who aren’t did our cleaning, we also started every day in letters, telegrams, taps slavishly following an ex-Beatle are finding to notice many wrong things in on the gate or just flowers and nice something about Paul’s work that outshines most our house. We started to love the thoughts. We thank them all and ne of us originally other bands in the pop-rock field. This album will plants which o appreciate them for respecting our thought were robbing air from us. probably sell a million, receive staggering quiet space, which we need. We We began to enjoy the drum beat and have a few smash singles pulled from it, thank you all for the love yo u send of the city which used to annoy us. us. We feel it every day. We know you mainly because the music fulfils the demand We made a lot of mistakes and are concerned about us. That is why of today’s format for rock muzak. still do. In the past we spent a lot of everybody is asking us what, when and And yet… while he continues to be energy in trying to get something we why. We understand. Well, this is what most commercially successful of all wanted, wondered why we didn’t get we’ve been doing. We hope you have ex-Beatles, Paul seems to be on it, only to find out that one or both of the same space in your mind to make While he a treadmill of banality. ‘Getting Closer’ is a natural us didn’t really want it. One day we your own wishes come true. Of course there’s some is successful, single in the ‘Jet’ league, Paul received a sudden rain of chocolates If you think of us next time, from people around the world. decent music on ‘Back To Paul seems to employing his favourite tactic of remember, our silence is a silence “Hey what’s this, we’re not eating of love and not of indifference. The Egg’. Serious musicians be on a treadmill beginning the song with his voice sugar stuff are we?” “Who’s wishing like McCartney, Denny Laine rather than an instrument. Remember, we are writing on sky it?” We bo th laughed. We discovered instead of on paper – that’s our song. and jam session guests Pete of banality On the whole, an album surely that when two of us wished in unison Lift up your eyes again and look Townshend, John Paul Jones, destined to join the production line it happened faster. As the Good around you, and you will see that you Dave Gilmour, and of rock, making no mark on the fabric of Book says, “Where two are gathered are walking in the sky, which extends others don’t readily churn out rubbish and contemporary music. together…” It’s true. Two is plenty. to the ground. We are all part of the ‘Rockestra Theme’ and ‘So Glad To See You Here’ This album get Wings nowhere and, as one who A Newclear Seed. sky, more so than of the ground. are creditable, rolling, raunchy and at least played it with an open mind – knowing of his More and more we are starting Remember, .” to wish and pray. The things we efficient, with Paul’s voice at its rocking best aspirations – I find it sad. ‘Back To The Egg’ indeed. John Lennon and Yoko Ono have started to achieve in the past on the last named track. Would that he went. Solo. Ray Coleman by flashing a V-sign, we now try PS We noticed three angels over our through wishing. We are not doing shoulders when we wrote this! this because it is simpler. Wishing NME ORIGINALS 123 Paul McCartney conducts the Rockestra onstage, December 1979

Wings over

January 1980, Kampuchea MM, 5 page 21

Paul McCartney was joined by a including brass section, failed dismally With Wings’ unspectacular set to match the pace set by Rockpile and over, it was fun-time and the curtain galaxy of stars, but one was missing almost sustained by Costello. was upped to reveal the Rockestra. There were rare highlights – ‘Maybe Some Whos (Townshend and Jones), At 6.30pm it was said and John Paul Jones and Kenney I’m Amazed’, ‘I’ve Had Enough’, ‘Spin a Pretender (), lots by “reliable sources”, Jones. I remembered reading On It’ and an off the cuff tribute to of Wings, three Zeppelins (Plant, that a certain Mr something about the Rockestra, the with ‘20 Flight Rock’ Bonham and Jones), and two Rockpiles Lennon had checked “galaxy of stars” who played on tracks – but the norm was sedate, harmless launched into ‘The Rockestra Theme’. A into . on Wings’ ‘Back To The Egg’ making and invariably tedious. While McCartney appeared intent in The forecourt of Hammersmith an appearance, but that story had Paul himself sussed that this exercising discipline, Pete was having Odeon on this dry, crisply cold been shelved in favour of “Beatles to audience was anticipating “something none of it. Only Townshend could Saturday evening was throbbing in reform” revelations. else”, and bitterly informed us that windmill his guitar during ‘Let It Be’. expectation. The billboard said Wings, One last look, just to make sure. No And , Why’d he open with a Beatles sign of a balding , pointy-nosed thin- Rockpile and Billy Connolly, but each lipped farmer with Jap boiler in tow. of us stored the hope that the eveing song? No reason as it turned out Oh well, if John had been there he would have its little surprises. might have said “On behalf the group We got in – eventually – and sat in By now “people in the know” were three of his former colleagues were and myself, I’d like to say thankyou buzzing anticipation. By this time, convinced that Lennon wasn’t there nowhere near Hammersmith; then and I hope we pass the audition.” music business people were popping – but said so with a slight wink that acknowledging the drowsiness of the This time though, they would have up and swapping Christmas tales kept them safe just in case. occasion, “I don’t know about you but failed. Harry Doherty of gluttony. The subject of a – shhh What were we to think when I’m nodding off.” – Beatles reunion was talked about McCartney’s four-man brass section with knowing secrecy. pumped out the opening bars to ‘Got To “?”: Townshend Meanwhile, the lights went down Get You Into My Life’? Why else would and McCartney and Billy Connolly, our host for the he open with an old Beatles song? No evening fell onto the stage. Even Billy particular reason as it turned out. had been reading the papers but had A little later into the set I spotted evidently not been talking to right a banner from the balcony “Hello people backstage. “Ah dinnae wanna From New York”, it said. Lennon had build yer hopes up,” he drawled obviously decided to send a message in surreptitiously, “but ah’ve just seen lieu of personal appearance. Maybe that three a’the Applejacks backstage.” explains why Wings’ set suddenly went During the interval gossip is rife. fl at. Pop without the fi zz. We had just He hasn’t arrived yet… but Pete seen two four-pieces provide excellent Townshend has and sets. Wings, with a personnel of nine,

124 NME ORIGINALS 1976-1980

6 January 1980, p McCartneyNME, 2 age 11 bust! Ex-Beatle held by customs in Japan after being caught with the demon weed

s TV crews and hundreds of fans converged on Tokyo’s Narita Airport last Tuesday to welcome pop star Paul McCartney, 37, OBE, the ex-Beatle A was detained by customs offi cials for possession of 220 grams of top-grade weed. Airport offi cials were alerted by McCartney’s “listless” behaviour. On searching his suitcase, they found the relaxant concealed in a toilet bag and the other in a suit pocket. Macca was immediately transferred to the Drug Supervision Centre in a nearby Tokyo suburb where he can be held for a maximum of 15 days pending trial. Under the traditionally strict Japanese law, A handcuffed he’s liable for either a jail sentence of up to 14 years, Macca is led away by Japanese banishment from the country or a substantial fi ne or customs offi cials various combinations of the above. He’s been refused bail, but generously granted to gross upwards of £20 million a year, he could well that he assumed that his status in Japan would grant “some preferential treatment” during his mail-bag afford the standard megastar practice of paying a him preferential treatment or that – slim chance, stitching time – coffee and bread in place of the carrier to run his drugs through customs. this – he was attempting some valiant and martyrish standard rice and green tea. Wings have had to cancel There’s always the possibility that the dope was stand on behalf of the world-wide Legalise Cannabis their 11-day sell-out tour and a total of £184,000 is to planted but that seems unlikely in the light of both Campaign, he leant meagre support in ’67, but whose be refunded to the 100,000 ticket holders. Macca and Linda’s previous convictions – Sweden, approaches he has since ignored. A Tokyo music ’72: for possession (after Linda McCartney was less reserved. She told the commentator told the press: He’s liable for a jail which he announced press: “I’ll never come back to Japan again. It’s my “For a man like McCartney publicly: “We smoke grass, fi rst trip and my last.” Mark Ellen to violate the law means sentence of up to 14 and we like it. I’ll go on that he has no respect for smoking it as soon as I can Japanese law.” Discounting years and a big fi ne get some more.”); Mull of the crowds of Wings fans Kintyre, ’72: for growing who’ve been warbling ‘Yesterday’ outside his prison marijuana; Los Angeles ,’ 75: when Linda was obliged cell, it’s hard to gauge whether or not the majority to attend a rehabilitation centre after being found in sympathise with this attitude. possession of enough weed for four joints. For McCartney to get busted it’s certainly open to Possible explanations for what seems to be either Having just avoided a fair amount of conjecture. Seeing as he’s reported an exceptionally foolish move on Paulie’s part are going down in Japan we might’ve expected something more jubilant than ‘Coming Up’, but alas not to be. Taken from his forthcoming solo album – released ten years after his first – it sees McCartney sinking further into the realms of mantelpiece kitsch and front-room cosiness. And, like movies and TV programmes designed specifically as family entertainment, it inevitably pleases no-one except pre-teen and senile members. They deserve far better treatment than this, which labours on a messy, synthetic-sounding horn arrangement, while McCartney pitches almost unrecognisably high. It’s too cute to be quirky and the song’s not up to much, even given the more confident discoid beat of Wings’ improved live version on the flip. The side also contains a bonus ‘Lunchbox/Odd Sox’ – instrumental doodlings to a Lieutenant Pigeon reggae rhythm and about as good. One to match the ducks on the wall. NME, 2 February 1980, page 11

JUSTIN THOMAS/EMPICSJUSTIN Chris Bohn MM, 12 April 1980, page 9

NME ORIGINALS 125 Being a naturally suspicious person , I’m wary of Paulie’s Beatles: it’s all supposed rejuvenation. After all, if Derek Jewell likes him that much there’s got to be a catch. Still, ‘Coming Up’ is over – offi cial undoubtably alright, upfront triteness with A nation yawns, but housewife John Lennon, 39, little penetration. McCartney’s still troubled by a tendency to disrupt a harmonious motif with a sudden splattering says it in , so it must be true of disconnected romanticism. On ‘Waterfalls’, a bizarre execution, he falls into just that trap – witty little verses September 1980 ow does a MM, 27 , page 9 baby, I’m worn out and you’re are compromised by chorus clichés. legend who feels walking in with a damn guitar.’ ‘Check My Machine’, the flip, is more peculiar; a deranged he’s made his John was starting to feel stuck “When I fi rst got out of The mixture of the developed madness which hasn’t been in contribution to in the Dakota (their New York Beatles I thought, ‘Oh great, I vogue since ‘You Know My Name, Look Up My Number’. H society spend apartment complex) and we get don’t have to listen to Paul, Ringo Ingredients that spring to my mind (purely opinion) are his fi ve-year self-imposed exile? bothered in hotels.” and George’. But it’s boring dub, beaver, and Krause, The Goons. Paul was evidently Some of the answers come in an But how has Lennon actually yodelling by yourself in the smoking the carpet prior to letting it all hang out, tape- interview John Lennon granted to spent his time since his last studio. I was always waiting to get wise, so the cognoscenti may not approve. I don’t know. Barbara Graustark of Newsweek. album? Apparently by swapping out of The Beatles from the day Max Bell NME, 21 June 1980, page 19 Lennon and Yoko, as you roles with Yoko, baking bread I fi lmed How I Won The War. might have heard, are presently and hardly picking up a guitar. I just didn’t have the guts to do it. recording an album in New York. The mind-broadening side of “The seed was planted when Titled ‘Double Fantasy’ it’s split his activities came from reading The Beatles stopped touring and straight down the middle, with books on history, archaeology I couldn’t deal with not going John and Yoko getting seven and anthropology and listening to onstage. But I was too frightened “Let’s take a trip and fly tracks each. But apart from that, classical music and muzak. to step out of the palace. That’s away, together alone” – to the Lennon’s have become shrewd Lennon, who was well on his what killed Presley. Whatever the funny farm for a nice property speculators and farmers. way to becoming rock’s Greta made The Beatles, The Beatles rest, presumably. So much They currently own fi ve Garbo, spoke candidly of his also made the ’60s the ’60s. for McCartney writing the apartments in exclusive New York missing years: “Musically, my “Anybody who thinks that if slop and Lennon writing blocks – each apparently worth mind was just a clutter. It was John and Paul got together with the shocking rockers! An $250,000. Then, George and early ’70s Opportunity for variety, there “The four guys who used Ringo, The Knocks protégé, one Gerry are homes in Palm Beatles would Munroe, used to do songs beach, Florida, a to be that group can never exist is out of very similar to this; pubs, Gracie Fields, maudlin singsongs. mountain retreat their skulls. The John Lennon either needs to be put away (if this record is in upstate New be that group again” Beatles gave meant to be good) or wants to be written off (if the direness York and four everything they of this dirge is intentional). My guess is that he’s happy in his dairy farms. But as Yoko said, apparent on ‘Walls And Bridges’, had to give and more. The four house-husband niche and did this merely to dissuade people “You have to invest in things which was the work of a semi- guys who used to be that group who ask him when he’s going to get back in the “studio” to you love, like cows. Buying sick craftsman. There was no can never be that group again, “lay down” some new “tracks”. houses was a practical decision, inspiration and it gave an aura even if they wanted to be. Julie Burchill NME, 25 October 1980, page 22 of misery… I became “What if Paul and I got an artist because together? It would be boring. I cherished freedom Whether George and Ringo – I couldn’t fi t into a joined in would be irrelevant, classroom or offi ce. because Paul and I created the I wasn’t free at all.” music, OK? But going back to The Of his former song Beatles would be like going back writing partner in the to school… I was never one for popular Liverpool beat reunions. It’s all over!” combo with whom Well that, from the most Lennon’s name had infl uential quarter of the Fab been associated, Lennon Four, seems to rule out the himself was expansive: possibility of an imminent Beatles “It’s ten years since reunion. McCartney is ensconced I really communicated in Wings; Harrison is producing with Paul. I know as and writing the music for Terry much about him as Gilliam’s fi lm Time Bandits and he knows about me, Ringo is getting married again. which is zilch! And Lennon: “On 9 October “About two years I’ll be 40 and Sean (John and ago he turned up at Yoko’s son) will be fi ve, and the door. I said, ‘Look, I can afford to say, ‘Daddy does do you mind ringing something else as well’!” fi rst? I’ve just had a Lets hope that he does, and as

hard day with the soon as possible. GETTY IMAGES

126 NME ORIGINALS 1976-1980

McCARTNEY II Paul McCartney

REVIEWED: NME, 21 June 1980, page 35 his is a low, low trip. You’d think Paul McCartney of that only the most shameless of creeps had far more than enough money to resort to would make public, all childlike and gooey simple. T cheap (sic) cons like this. Which brings us to the true horror show, ‘Bogey Music’. ‘McCartney II’ is Paul’s home-brew bitter kit that It’s based on the fairytale book (for the under sixes) he literally knocked together at home with Fungus The Bogey Man and comes with a little the minimum of technology and thought. explanation for all us sitting-comfortable It sounds like the most desperate of adults. He makes the words and the tune artists’ memorial rip-offs, one of those ‘McCartney II’ up as he goes along. Sample: “If you that a company slings out after all isn’t worth the little bogeys all want to sing along/ the compilations but just before the Clean your little bogey act up and dialogue album. plastic it’s printed learn the bogey song”. Only the single ‘Coming Up’ on. Neither But towards the end, McCartney resembles anything like effort, but is Paul cannot hold back his attempt any longer even that suffers because of the skinflint and out slips the keyword for this LP production job. Elsewhere, it’s hard to know – “without Bogey music, life is incomplete, you where to begin. There are soapy-dope ramblings know it is SUCKERS”. like ‘Waterfalls’ and ‘Summer’s Day Song’ which take an ‘McCartney II’ isn’t worth the plastic it’s printed on. past and he’s too rich to be stopped. age to finish and comes across like ‘Fool On The Hill’ with Neither is Paul, but he’ll go on doodling and fooling his But, at 40, look at the face! a dozen anchors around its neck. Then there are a couple public because they’re too frightened to ditch him and his A picture of Dorian Gray. Danny Baker

DOUBLE FANTASY John Lennon & Yoko Ono Geffen

REVIEWED: MM, 22 November 1980, page 26

ive years is a dangerously long therapy from which was born his most It’s set at mid-pace, as are time to avoid any kind of musical significant solo album. most of the other Lennon F activity. Especially when you’re an As suggested by his uninspired tracks, leaving it to Yoko to try artist prone to bouts of creative atrophy. comeback single ‘(Just Like) Starting Over’ her best at generating some A self-confessed dreamer, he has always which opens this album, the time spent in kind of energy which she produced his best work in the midst seclusion and semi-retirement appears to attempts with the mercifully of some kind of catalytic event. In his have dulled the man’s sensibilities. short ‘’. early days with The Beatles this frisson The inauspicious cover, depicting the Lennon’s ‘I’m Losing You’ is came through his part supportive, part happy couple locked in a kiss, reflects the next up. One of the album’s competitive writing relationship with Paul music… which is a continuation of their strongest tracks echoing McCartney: then came another period of public declaration on the unending beauty the ‘White Album’ and at inspiration during the final crumbling of of their relationship. least proving the man is still his first marriage, followed by perhaps his In other words, it’s more songs about capable of summoning a most consistently fruitful era under primal Yoko, John and Sean. And yes, it’s a tortured, aching vocal. godawful yawn. Yoko answers John’s Domestic democracy requiem to lost love with has ensure that Lennon her own version on the gets seven tracks and same theme, ‘I’m It’s more ‘Yes, I’m Your Yoko the same. Her ‘Kiss Moving On’. songs about Angel’ is Yoko’s Kiss Kiss’, the other half of Lennon’s worst track on the the single, is the album’s ‘Beautiful Boy Yoko, John and album. Half waltz, second track. It’s typical (Darling Boy)’ ends half music hall of much of her music on the first side in the Sean. It’s ballad, she croons the record, featuring her same mushy vein along to the kind improved vocals, slight it began. Basically a godawful of whimsical pap melody lines, a lullaby to his son, it yawn McCartney used to slip and obscure lyrics. boast a haunting melody onto Beatles albums. ‘’, and a simplistic lyric, but A ringing Argent-style the next Lennon ultimately reinforces the album’s guitar riff opens John’s ‘Woman’, composition, gives incestuous feel, ending with daddy Lennon which is the nearest sound to the Fab Four the backup musicians saying goodnight to his baby boy. on the album. The melody is passable but – including You don’t have to be a Lennonologist to by now tributes to Yoko are wearing more and Hugh McCracken realise that ‘’, which than a little thin. on guitars, opens the second side, is the key track. As an old companion of John Lennon on bass, Taking its momentum from a similar piano once said: “Some people wanna fill the on keyboards and Andy motif to that on ‘Imagine’, it’s Lennon’s world with silly love songs”. The trouble Newmark on drums answer to his critics, and after this debacle is they just don’t know when to stop. – room to stretch out. there’ll be plenty of them. Ian Pye

NME ORIGINALS 127 Photographer Allan Tannenbaum had the opportunity of working with John and Yoko in the days before John Lennon’s death

llan Tannenbaum fi rst met John Lennon in April 1975 while working for New York free paper, the Weekly News. The former Beatle was performing at a tribute to British TV mogul Sir Lew Grade. “I met John hanging out backstage,” recalls Allan. Working for the SoHo Weekly News until its closure in 1982, Allan’s only subsequent sightings of Lennon were at press events – he snapped him arriving at the reopening of the Copacabana in 1976 and at the inaugural gala for President Jimmy Carter in 1977. However, in late 1980, Allan had an idea that enabled him to gain precious time photographing Lennon in the days before his death. “After fi ve years of seclusion word was getting out that they were coming back with an album. I said, ‘Why don’t we try and do something with John and Yoko for the SoHo Weekly News?’” Managing to set up an interview with just Yoko, the small magazine dispatched Allan to the Dakota building for a photo shoot, where the photographer once again bumped into the former Beatle. Lennon remembered their previous meeting in 1975 and unexpectedly agreed to some pictures with Yoko in Central Park and outside the Dakota. Allan also managed to elicit an invite to shoot stills a few days later on the set of a promo video for ‘(Just Like) Starting Over’. “It was a beautiful fall day and they were shooting in Central Park,” he recalls. “After a while Yoko suggested we get a coffee and we sat around drinking espresso “I was in the darkroom making prints to bring them to the Dakota when I got the word that John had been shot”

and talking. She said, ‘John feels comfortable with you, why don’t you come with us to the studio?’ So I got in the car with them and we went to a gallery in SoHo which had been converted to a fi lm set for the day – a recreation of their white bedroom. They did two scenes, getting undressed totally nude and having to make love for the cameras. I’m taking pictures and I’m thinking, ‘Wow, this is unbelievable – these are great pictures.’ “A few days later I went up to the Dakota to show them the contact sheets. John really liked a portrait of them with their heads close together and said, ‘The thing I like about your photographs is that you make Yoko look so beautiful.’ 21 NOVEMBER 1980 He looked at me when he said that and it still cuts my Outside the heart to the quick when I think about it. A day or so after Dakota building that I was in the darkroom at the SoHo Weekly News “It’s one of my favourite pictures. making prints to bring them to the Dakota when I got the It’s great to see the building where word that he had been shot.” they live and the floor that they live Having been around at the time of Lennon’s death has on – that’s where he felt safe, that meant that Yoko has never forgotten him. “We’re not was his castle. The doorway where he was shot is at the bottom left of close friends or anything like that, but she’s been really the picture. good to me. I’ve had three exhibitions and she has sent “It’s just a classic portrait of them a giant bouquet of fl owers each time. She supports my together – most of the pictures that work and I think she appreciates that I’ve been very I have are of them together because respectful of John’s image and his memory with my they were together all of the time photos. I think it’s important for her to keep the memory – they were a complete unit and of John alive – and I’m a part of that.” Chris Hunt a great couple.”

128 NME ORIGINALS NME ORIGINALS 129 26 NOVEMBER 1980 Art gallery in SoHo, New York. Video shoot for ‘(Just Like) Starting Over’ “This was taken while they were setting up the shot for the video of ‘(Just Like) Starting Over’. The significance of this is that it was the same piece of art that Yoko was exhibiting when they first met in London – although they changed the apple. “John looks very composed and very much at ease. He was having a good time. His face was really interesting and he had a lot of different looks – this one really looks like Beatle John.”

130 NME ORIGINALS 26 NOVEMBER 1980 SoHo, New York. Video shoot for ‘(Just Like) 18 APRIL 1975 “Although it’s not clear in Starting Over’ Hilton Hotel, New that photo, everyone in the “I really can’t say how excited they York. Final television band was wearing a mask on are – Yoko looks quite passionate. performance the back of their head made There’s another picture where they “These were taken on the day from their own face and were laughing afterwards because I first met John Lennon – he everyone’s head was covered they were doing this for a very long was taping a TV Special called as well so their hair wasn’t time. He just cracked up and said, A Salute To Sir Lew Grade. showing – that was John’s idea ‘What is this, Ben fucking Hur?’.” I thought the backing band because he thought Lew Grade was Elephant’s Memory, but was bald and two faced! I had a show of my John Lennon “By the way, do you know pictures and a couple of ex- what BOMF stands for? It was members of the band saw it and John’s name and it was short said, ‘No, we weren’t Elephant’s for Band Of Mother Fuckers. Memory, we were BOMF, you can I just found that out recently see it on the drum kit.’ from the band!”

NME ORIGINALS 131 26 NOVEMBER 1980 26 NOVEMBER 1980 Art gallery in SoHo, Central Park, New York. New York. Video shoot for Video shoot for ‘(Just Like) ‘(Just Like) Starting Over’ Starting Over’ “A lot of people thought it was a “This is from the video shoot for beautiful day outside, but it was ‘Just Like Starting Over’. John was night-time already and they had just full of energy and optimism these big floodlights outside shining and excitement as he could sense through the blinds so it looked like the possibilities. I could sense them daylight. I think the set itself was as well because we were getting so elegant and those kimonos were along and I was just talking to John quite beautiful. With that light as if he was my oldest friend – coming in it just lent itself to classic I knew they were going to go on poses and classic compositions. tour and I imagined that maybe I still am amazed when I see those I could go on tour with them or photos. To me they have a special something like that. There were poignancy, because they look almost all these possibilities.” otherworldly, they look really serene – and a few days later he was gone.”

21 NOVEMBER 1980 Dakota building, Yoko’s office “I was with Yoko in her office and John came downstairs from their apartment, which was on the seventh floor – the office was called Studio One because it was on the ground floor. This picture was taken just after the shot outside the Dakota. He and Yoko had signed a couple of copies of the LP and I still have one of them on my wall.”

132 NME ORIGINALS 8 DECEMBER 1980 Police station, Mark I went into news photographer Chapman under arrest mode and went to the police “The shock of John being shot station and waited along with was very strong. I went up to the everybody else for the ‘perp walk’. hospital and I was praying that When they walked Mark David 22 FEBRUARY 1981 in astrology and it had to be done he was just wounded and that he Chapman down I got a couple of 14 DECEMBER 1980 Central Park, New York. at a certain time. She wanted me would live, but when I got to the shots. Then I went down to the Central Park, New York. ‘’ to go out and take an aerial photo hospital there were a lot of people Dakota and I spent the entire Vigil for John Lennon video shoot of a frozen lake, which I did. It standing there just dumbfounded. night outside the Dakota.” “A week later there was a memorial “After her shock and disbelief, was supposed to be for the single vigil for John in Central Park. A lot Yoko plunged back into work, jacket but it actually wound up in of people came from all over the doing things to get her mind off the video instead. city – mostly solemn and it was very it I guess. She started making “I was waiting in her bedroom emotional for everybody. I think a video for one of her songs, for this art director to show up and this picture mostly sums up what ‘Walking On Thin Ice’, and this it was really, really awkward and everybody was feeling. The irony picture was from the video shoot. uncomfortable because she was was that the story we did for SoHo A few days afterwards she called in a really bad shape. There was Weekly News was the interview with me to the Dakota to meet an art nothing you could talk about and Yoko and the coverline was ‘Yoko director who was coming from that was really difficult. But after Only’. That was the issue that was on LA because they were going to that, little by little, things got the stands when John was shot.” release the single. She believed back to normal.”

NME ORIGINALS 133 1976-1980

134 NME ORIGINALS 1976-1980

3 December 1980 John LennonNME, 1 , page 3 murdered

A tearful Yoko, an angry crowd and a cold-hearted killer (below) Crowds gathered outside the Lennons’ home in the Dakota New York report by Joe Stevens ohn Lennon gave his last attempt to escape. He threw his autograph in New York gun down and was grabbed by the on Monday night. doorman and a passer-by, while In exchange, Mark Yoko, understandably distraught, J David Chapman, 25, white clutched Lennon’s body, screaming: and Hawaiian, thanked “He’s been shot! Someone help! him with fi ve .38 calibre bullets to the Someone help!” Yoko left the hospital for an unknown upper torso, infl icting seven wounds One of the Lennons’ neighbours destination. and severing a major artery. called the police and a passing patrol Back at the Dakota, thousands of claiming: “Lennon never had a chance The suspect, who had been in New car arrived to fi nd Lennon lying face tourists gathered, some in tears, many after the fi rst shot. He suffered wounds York for two weeks, had been stalking down in the apartment-block offi ce. wearing Beatles memorabilia and a in the arms, chest and legs – seven in Lennon for days outside the Dakota As they took Lennon to hospital, few with angry words for Lennon’s all, infl icted by fi ve bullets.” apartments on 72nd Street, Central Yoko cradled him in the back seat, assailant. Barricades were erected According to police, Chapman Park West. imploring the police to hurry and and police with loud-hailers appealed had caused a disturbance outside Lennon had spent the evening with repeating, “Tell me it’s not true. Tell to the crowd to use the sidewalks to the Dakota earlier this week. They Yoko and producer Jack Douglas at the me he’s going be alright.” relieve the traffi c jam. described him as “a local screwball… Record Plant studio and departed at a wacko who’s been grinning 10.30pm with the intention of getting At the Dakota thousands throughout the interrogation as something to eat before going back to though he’s enjoying the whole deal”. the Dakota. gathered, some in tears, many Not a native of New York, Chapman When John and Yoko returned had been living at the YMCA and then home in a limousine, they got out and wearing Beatles memorabilia moved to the Sheraton Centre Hotel, walked through the courtyard of the where rooms go for $75 a night. building, where the assailant stopped On arrival at Roosevelt Hospital, News arrived at the area in minutes, There is some uncertainty as to the couple for an autograph. Lennon 16 streets from the scene of the crime, and TV lights lit the exterior of the whether Chapman asked for the signed a piece of paper and Chapman frantic attempts were made to save apartments, casting eerie shadows autograph and then shot Lennon fi red. Lennon staggered up some steps Lennon by the emergency surgeons, across the nine-story brick structure or came back later, possibly after an and fell into the doorman’s kiosk. with massive blood transfusions and which was used as a location for the fi lm argument. Certainly Chapman, a The doorman, in disbelief, asked resuscitation attempts to the heart, Rosemary’s Baby. The growing crowd former security guard, had received an Chapman: “Do you know what you’ve but all to no avail. Lennon was dead milled about in silent communion, autograph from Lennon earlier in the done?” Chapman’s reply was: “I shot on arrival. casting glances to the windows hoping day, but was refused a request to sign John Lennon.” The fi rst bullet had torn major for a glimpse of the bereaved Lennons. an album cover. Lennon’s autograph The attack took place at 10.50pm arteries, causing him to bleed to death. Meanwhile, Dr Lynn at Roosevelt was found on Chapman when police

GETTY IMAGES/CORBIS New York time. Chapman made no When told by the doctors he was dead, Hospital held a press conference, searched his pockets.

NME ORIGINALS 135 1976-1980

PAUL McCARTNEY BOB GELDOF “John was a great “Imagine no John Hello guy and he’s going Lennon – its very hard to be missed by the to do. That guy with whole world.” the gun stole away our Goodbye childhood when he shot Lennon. MICK JAGGER His music was the background to A personal reaction by “I liked and knew our growing up. I feel his death Charles Shaar Murray John Lennon for over more keenly than, say, Presley 18 years but I don’t or Hendrix – he wasn’t a hero, omewhere in the night the phone goes off, want to make a casual he transcended that. His music terminating an uneasy slumber during a remark right now at such an was omnipotent. He was playing Smarathon writing session on the Dury feature. It’s Guy Stevens on the wire. He’s just been talking to awful moment for his family your thoughts back to you. He Jerry Lee Lewis and, during the conversation, Jerry Lee and millions of friends.” was so close to me and the people had broken off to listen to something coming over his of my generation that it feels like radio. They’ve just carried the flash that someone had GEORGE MARTIN someone has just raped your blown John Lennon away. “I don’t fucking believe it,” “John’s been the most mind to have this happen. Jerry Lee told Guy. “JOHN LENNON HAS BEEN SHOT. JOHN LENNON IS DEAD, JOHN LENNON IS DEAD.” retiring one and he Violence like this you can almost In the night it only registers on the surface. It’s had a lot to put up imagine happening to some registering now. Eight hours later, Tuesday lunchtime. with. He bore the rock people, but not Lennon. Thoughts out of sequence: I’m glad that John Lennon brunt of the Allen Klein affair I think the greatest tribute to took that five-year lay-off because it means that young and the traumatic experience pay him would be for the Sean will remember his father, that they spent time together, that Lennon’s last five years were happy. of being likely to be expelled American gun laws to be Ironies: that he made an album about ignoring the from America. amended immediately to try outside world and then some fucking psycho after “It all came to a peaceful and stop something like this 15 minutes of a mediabuzz turned rock’n’roll assassin conclusion when he got his right happening again.” and blew away an innocent man. to live in America and all the A stupid death, a pointless death, a useless death, tragic in the real sense. The most a human can wish for court cases were cleared up and concerning his or her last exit is that the death should recording contracts ended. He “Lennon was the have some relevance to the life, that the death should actually said to me, ‘I’m free for greatest infl uence on grow out the life, part of the cycle of existence and the fi rst time in my life. I don’t my life and probably all that shit. John Lennon deserved that at the very have to do anything for anyone.’” on everyone else’s as least and he didn’t get it. If he had to die prematurely and violently, he should have had a death that had well. He was my idol. He was something to do with him and his life, and not some JOE STRUMMER the one person I wanted to arsehole allowed to run about America with a gun. “I’m shattered. He was meet. I saw him once but I never None of it makes sense. the hard man of The met him. What can you say? It’s Next week we can talk about Lennon’s life, his music, Beatles. If you were terrible. Absolutely terrible.” his contribution to the medium in which he worked. We can hear all the tributes, read the obits, consign him to a kid in the ’60s, you history and all the rest of it. Today we just deal with the couldn’t get away from him.” sorrow and the anger and the rage at futility. “I’m too upset to talk I met John Lennon once and checked for him not just ELTON JOHN about it – I can’t fi nd as a great talent, but as a good presence, a good human. “I’m so shocked. I don’t words to express how Whether John Lennon was making records or not whether I was personally delighted by those records or want to say anything I feel.” not, I was still glad that he was around. at all. I’m hoping to The rest can wait. That last moment before the guy talk to Yoko tomorrow JOHN PEEL pulled the trigger, I hope you were thinking about before I talk to anyone else.” “I was very distressed something or someone that you made you happy. I hope when I found out. you where happy. I hope that somehow you still are. Hello… goodbye. JOHN’S I’d probably still AUNT MIMI be a computer “He was as happy programmer if it hadn’t been as the day was long. for The Beatles. In America He was coming over in 1964, being British – especially

after the record was released.” if you could claim to come from ES/UPPA Greater Merseyside, which ROGER DALTREY I do – was enough to get you “It’s terrible. My on the radio. I had to cultivate

The late John heart goes out to something in order to convince Lennon: “a good his wife and family them. I wouldn’t have done it but presence and

a good human” and his sons.” for The Beatles.” IMAG FEATURES/LFI/GETTY PRESS/REX CAMERA

136 NME ORIGINALS 1976-1980

NME, 20 December 1980, page 7

NME ORIGINALS 137 1976-1980 1976-1980

EPILOGUE

After the death of John Lennon ended all speculation about a Beatles reunion, the remaining Fabs were free to assert their independence – but their biggest successes were still as a group. By Mike Pattenden RETNA The Beatles Completed

or all the goodwill and personal success The Beatles enjoyed as individual artists in the wake of their 1970 split, they were accompanied by constant speculation over how long it would be before they reformed. No F song they could ever write, nor any live performance could ever compare with the impact they made as a foursome. This intransigence dogged the four members at every creative juncture and, eventually, it took four bullets to bring it to an end. When stepped out of of the Dakota building at 11pm on Monday 8 December 1980 and gunned down John Lennon he severed the band from its past and left a question mark over their future. The immediate effect was a huge outpouring of grief. Large crowds gathered at the corner of Central Park to mourn, while global television Flying high: Yoko crews broadcast the images around the world. Radio stations around renames Liverpool the world put Lennon’s songs on constant rotation. airport after the Within days the murdered Beatle had been elevated to martyrdom local hero, 2002 with lasting consequences for the three remaining members. Lennon the rebel had become Lennon the saint, a man of peace who died violently like his heroes Ghandi and Martin Luther King. Rolling Stone featured a naked Lennon on the cover, like a child of nature wrenched from the world. The Jesus image had fi nally reached its apotheosis – he had been crucifi ed. The primary effect was that no celebrity would ever feel at ease again. Manson and his disciples had already twisted The Beatles’ lyrics into a message for mayhem, now the deluded loner stalked the object of his obsessions. For the surviving Beatles, security could never be taken lightly again as George Harrison would discover nearly 20 years on. However, the fall-out from Lennon’s death changed their world irrevocably in The fall-out from John Lennon’s many other ways. It had the sharpest impact on Paul McCartney who was further death changed the surviving Beatles’ overshadowed in everything by his former partner. John’s deifi cation led to an equal diminishing in Paul’s status as a writer and performer. worlds irrevocably in many ways He became the sentimental conformist, John the iconoclastic radical. No matter that the ‘Double Fantasy’ album released less than a month nation’s favourite song lyric on National Poetry Day 1999. Solo before John’s death was full of the sort of soppy domestic ballads McCartney offerings tend to be conspicuous by their absence from McCartney was pilloried for. such events. Lennon’s name remains untarnished to this day. Mourners Lennon’s legacy has enjoyed a parallel existence to The Beatles, reassemble in Central Park annually to hold vigils at the spot now carefully nurtured by Yoko Ono. She exploits his commercial offi cially recognised as the Strawberry Fields memorial. Two years potential as effi ciently as did Elvis. Archives ago Liverpool airport was renamed Liverpool John Lennon Airport. from his life are drip-fed to fans, old material carefully repackaged. No other popular music fi gure could prompt 1,000 radio stations to Advertising deals have been done – ‘Instant Karma!’ being handed play a single song at the same time as they did with ‘Imagine’ on the to Nike, of all people. 50th anniversary of his birthday in October 1990. Its current manifestation is Lennon, the musical based on his life His utopian hippy ballad, a posthumous Number One, is regularly and songs which opens on Broadway in July (not the fi rst theatrical numbered among the greatest songs of all time and was voted the tribute, incidentally: Lennon – In Music And Words and Looking Through A came before). For the survivors his elevation became an Yoko at the irritation they were forced to bear – sometimes Strawberry Fields memorial in Central through gritted teeth. Even George Harrison, Park, New York forever overshadowed by the songwriting partnership of Lennon and McCartney, was regularly at pains to point out The Beatles were a democratic band. He wrote ‘’ about his deceased bandmate but left all mention of him out of his biography I Me Mine. The constant harping ate away at McCartney. In 1998 he released a biography Many Years From Now with which asserted his avant-garde credentials and solo canon. “I didn’t want the reputation as a soppy arse because I’m not that,” he announced, to universal disinterest. Relations with Yoko Ono, hardly ever cordial, deteriorated as she blocked various band plans in order to promote her deceased husband as a separate entity. The growing inferiority complex became manifest in the bitching over credits which Macca rocks Glastonbury, June 2004…

escalated to risible heights. Irked by having his name left off ‘Give In the face of mainstream disinterest McCartney Peace A Chance’ on the ‘Lennon Legend’ compilation in 1997, has indulged his polyglot tastes in a series of McCartney retaliated by fl ipping the traditional writing credit on 19 side projects. He was always the most creatively Beatles songs on his ‘Back In The US’ live album. open Beatle, the one who immersed himself in Of course McCartney’s issues must be placed alongside his huge Swinging London’s avant-garde underground wealth. With a valuation of £550 million he is still the richest musician and since these days his career embraces painting, in the country, British pop’s regal fi gurehead. fi lm, theatre, classical composition and Down the years his steady solo output of music has see-sawed from the experimental work. After Wings his solo forgettable (‘’), to the disposable (the covers album ‘Run work took him in diverse directions. Devil Run’) and the underrated (‘’ and ‘Driving He topped the UK charts with ‘’ and ‘’, and in 1984 he wrote the script Irked by having his name left and soundtrack to the maligned Give My Regards To Broad off ‘Lennon Legend’, McCartney Street which yielded his last bona fi de solo hit, ‘No More fl ipped credits on his live album Lonely Nights’. Undeterred, he continued Rain’). Diminishing sales for the latter on its 2001 release demonstrate to expand his creative horizons, how little interest exists for new material. Conversely his popularity tackling classical works in 1991’s as a live performer has revived massively in recent years. His Back In ‘Liverpool Oratorio’ which The US and Back In The World tours were must-see attractions, while was commissioned by the his headline slot at Glastonbury in 2004 drew rave notices and even Royal Liverpool Philharmonic an NME Award for Best Event. That he is happy to rattle through his Orchestra to mark its 150th Beatles back catalogue may play some small role in the matter. Yet anniversary and ‘Standing even without the live following his status would still be immense. The Stone’, 1997’s symphonic …and wins an success of daughter Stella as a fashion designer, the death of wife Linda poem. He also released two NME Award for and his remarriage to has made the McCartneys part of techno albums as The Fireman his troubles, February 2005

REX FEATURES/CORBIS/DEAN CHALKLEY the new cult of celebrity that so infatuates the country. with producer Youth: 1994’s

NME ORIGINALS 143 George Harrison and Bob Dylan onstage with The , 1988

‘Strawberries Oceans Ships Forest’ and 1998’s ‘Rushes’. Turning his attention from music to art, he has exhibited a selection of his 500 When George Harrison died on 29 paintings and published books of his art and poetry. Never, for a single moment, did he step outside of his identity as November 2001, his loss curtailed the ‘former Beatle Paul’. George Harrison was perhaps the one member who could have possibility of new Beatles recordings fl owered outside the confi nes of The Beatles. Despite being restricted to the odd song per album he had nevertheless demonstrated them. ‘My Sweet Lord’ invited a writ for its resemblance to ‘He’s So his songwriting ability on songs such as ‘While My Guitar Gently Fine’, ‘’, a Number Two hit, was pure froth, Weeps’ and ‘Something’. Yet he never wrote a solo song to outstrip and ‘’ a nostalgic glance back at his glory years. Riding a wave of goodwill post-split albums like ‘All Things Must Pass’ and ‘Living In The Material World’ sold well but his creative George Harrison’s output tailed off, reviving briefl y with ‘Cloud Nine’ in 1987. After the guitar shop, Concert For Bangla Desh he rarely ventured onto the live circuit – one Henley, 1987 maligned North American tour in 1974 and then he did not take to the road again for 17 years, retreating into a curmudgeonly middle- age leavened by his genuine interest in spiritualism and passion for fast cars. In the ’80s he formed The Traveling Wilburys, a roots supergroup with Bob Dylan, Tom Petty, and Beatles superfan Jeff Lynne, releasing two albums and a hit single ‘Handle With Care’. Perhaps his greatest contribution was to the ailing British cinema industry. He played a key role in setting up HandMade Films, beginning a sequence of movies with the team and enjoying considerable success with cult classics The Long Good Friday and Withnail And I. Of all the Beatles, Harrison remained closest to Eastern religion, investing time and money in the Natural Law Party. He stayed close friends with Ravi Shankar and could take as much credit in popularising the sitar in the West. When he died on 29 November 2001 his loss curtailed any further possibility of ‘new’ retouched Beatles recordings

144 NME ORIGINALS The Beatles Completed

Ringo and onstage with the All-Starr Band, 2001 Each time there’s a titbit to tempt the completists, often the promise of unreleased material. ‘Live At The BBC’ included the previously unreleased Lennon/McCartney song ‘I’ll Be on My Way’, formerly a Billy J Kramer and the Dakotas B-side. As ever the holy grail remained ‘new’ old songs or, better still, the prospect of the three working together again and that fi nally occurred with the Anthology series. Handed a mucky old cassette found in a cupboard by Yoko, The Threatles reassembled in 1994 to tackle a trio of Lennon demos, ‘’, ‘Real Love’ and ‘’. The Bearded News of the reunion made headlines the world over as they laboured to Controller: Ringo make something out of a handful of takes and a lot of tape hiss. Starr with Thomas The Tank Engine On completion ‘Free As A Bird’ duly reached Number Two in December 1995. Ironically it was kept from the top by , current owner of Northern Songs, The Beatles’ publishing Perhaps Ringo suffered most of all without The Beatles. He never rights – a source of consistent irritation to McCartney since 1985. had the creative faculties to fall back on. Like the others he enjoyed Reports of Jackson’s fi nancial problems surround his court case but enough goodwill , but the well ran dry while he soaked himself should he ever sell, Sony as joint owners have fi rst dibs. The songs may in booze. The 1983 album ‘’ did not see the light of day, and never return to The Beatles. nor did an abandoned album, recorded with producer Chips Moman No matter, having created the blueprint for guitar, bass and drums in 1987. ‘’, featuring an all-star cast including Brian they continue to inspire bands to form. They have variously been Wilson and plus separate performances by George infl uences on , baggy, even acid house and grunge with and Paul peaked at Number 85 leading to the inescapable conclusion Kurt Cobain acknowledging their infl uence. that no-one is interested in him as a recording artist any more. Their most recent spiritual heirs came along with . Fellow Like many drummers, Ringo is happiest performing and his All- Scousers The La’s revived their shiny pop in the late ’80s, but it was Starr Band proved a popular draw in the ’90s. If Ringo is remembered for anything as a solo artist it is as the narrator of Thomas The Tank Engine, otherwise he would gladly settle for being just an ex-Beatle. If Ringo is remembered for anything And The Beatles? Well they never went away, enjoying a parallel existence to the individuals, fuelled by nostalgia, careful marketing as a solo artist it is as the narrator and, of course, the enduring appeal of the songs. Each generation is introduced to the band via a newly packaged set of releases, while old of Thomas The Tank Engine fans fi nd a way of rediscovering them. The modern trend for listing and reappraising the past only adds Oasis who championed their infl uence obsessively. Guitarist and to their lustre. ‘Sgt Pepper’s Lonely Hearts Club Band’ topped a joint songwriter admitted to measuring every song against survey between HMV and in 1998 for the best album ever theirs, while reviving their sound comprehensively. The obsession made, while Rolling Stone named it Number One in its 500 Greatest reached its zenith when they hired Ringo’s son as Albums Of All Time in 2003. In times of trouble people turn to The drummer last year. Beatles for comfort – after the Twin Towers fell in 2001, ‘Let It Be’ was In August 1999 the Recording Industry Association of America one of the most requested songs on New York radio stations. revealed The Beatles to be the highest certifi ed act of all-time with Subsequent eras continue to fi nd something fresh in The Beatles as more than 113 million albums sold. If you added their individual solo Apple and EMI have combined to recycle the band’s many aspects: sales together the total would fall well short. ‘Love Songs’, ‘Rock’n’Roll Music’, ‘’, digitally remastered The fi gures add up. As Philip Larkin noted in 1983: “Never has a CD reissues of the Red and Blue albums, ‘Live At The BBC’, ‘1’, ‘Let whole been greater than its parts… when you get to the top, there is It Be… Naked’, the list grows with every anniversary. Yet the never- nowhere to go but down but The Beatles could not get down. There ending stream of material has only served to strengthen rather than they remain, unreachable, frozen, fabulous.”

RETNA/REX FEATURES dilute their name. And there they will stay.

NME ORIGINALS 145 The Beatles Forever

EDITORIAL 25th Floor, King’s Reach Tower, Stamford Street, London SE1 9LS EDITOR Chris Hunt ART EDITOR Jimmy Young (020 7261 7379) PICTURE EDITOR Monica Chouhan (020 7261 5245) CHIEF SUB-EDITOR Nathaniel Cramp (020 7261 7613) EDITORIAL ASSISTANT Elizabeth Curran (020 7261 6036) EDITORIAL CONTRIBUTORS Paolo Hewitt, Chris Ingham, Paul Moody, Mike Pattenden, David Stubbs, Adrian Thrills EDITORIAL DIRECTOR Steve Sutherland (020 7261 6471) GROUP ART DIRECTOR Rob Biddulph (020 7261 5749) NME EDITOR Conor McNicholas (020 7261 6472) NME.COM EDITOR Ben Perreau (020 7261 5079) EDITORIAL PA Karen Walter (020 7261 6472) PRESS Nicola Woods (020 7261 6108) ADVERTISING 26th Floor, King’s Reach Tower, Stamford Street, London SE1 9LS GROUP AD DIRECTOR Karl Marsden (020 7261 5493) AD MANAGER Mia Appelbrink (020 7261 7073) AD PRODUCTION Alec Short (020 7261 5543) CLASSIFIED AD MANAGER Romano Sidoli (020 7261 5061) GROUP PRODUCTION MANAGER Sam Bishop PRODUCTION CONTROLLER Terry Kerr BUSINESS DEVELOPMENT DIRECTOR Andrew Sanders (020 7261 7187) INTERNATIONAL EDITIONS Siriliya Nawalkar (+44 20 7261 7082) SENIOR MARKETING MANAGER Nick New (020 7261 6722) PUBLISHER Tammi Iley (020 7261 5790) PUBLISHING DIRECTOR Eric Fuller (020 7261 5675) MANAGING DIRECTOR Tim Brooks SPECIAL THANKS TO: Peter Sellers/John Kelly, Ray Green/Camera Press and Michael Pultland/Retna (for cover images). Allan Tannenbaum, Barry Feinstein, Barry Plummer, Robert Ellis, Justin Thomas, Bob Gruen, Jade Forde, Frank Kinsey, Rob Langston, Natalie Parker, Jack Prescott-Decie, Liz Watson, Takiyah Williams, Richard Olson, Joe Winfield

SUBSCRIPTIONS www.nmeoriginals.com BACK ISSUES Tel. 020 8532 3628 Fax. 020 8519 3695 Order online at www.mags-uk.com/ipc Copyright IPC IGNITE! © 1968-1977 inclusive. No part of this magazine may be reproduced, stored in a retrieval system or transmitted in any form without the prior permission of the publishers. Repro by FE Burman, 20 Crimscott Street, London SE1. Printed by Southernprint Web Offset Limited, Unit 17-19 Factory Road, Upton Industrial Estate, Poole, Dorset BH16 5SN. All reasonable efforts have been made to obtain copyright clearance and acknowledge the source of material used in the magazine. If you should have been contacted or credited please email [email protected]. Check out the NME Originals website: www.nmeoriginals.com

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