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Presented as forerunner of the inevitable show revisiting John Lennon/Plastic Ono Band to come later this year as part of the 50th anniversary, returning guest Chip Madinger (Eight Arms To Hold You, Lennonology) and I discuss some of the assorted odds and sods produced (or proposed) by John Lennon under the Plastic Ono Band brand circa 1969/1970. The POB debut year gave us the singles “Give Peace A Chance” and “Cold Turkey,” but what about the other announced releases? (“Laughing”/”Whispers”; “You Know My Name”/”What’s The New Mary Jane,” and the mysterious instrumental, “Rock Peace”).
Chip knows the work and chronology better than anyone when it comes to the solo Beatles and John Lennon in particular. He presents some astonishing information about what was originally planned for 1970 (and about the original form of “How Do You Sleep”). This one’s a treasure trove for Lennononistas…
Check out his work at https://www.lennonology.com/ (including the current special).
Looking forward to giving this podcast a listen!
I found out something about “I Found Out” a couple of nights ago, when I was working in Audacity, synching up the version from the “Home Tapes” CD to the regular version from the Signature box set (with my usual “trial and error” methodology): the regular version is the same basic performance as the “Home Tapes” version, but there is a speed difference between the two (roughly 0.750%) and the regular version has been edited down and stripped of much of the overdubs (some additional vocals, bongos) contained on the “Home Tapes” version. (I’m guessing that the “Home Tapes” version is the original mix intended for release, with John possibly adding to the track with his usual insecurities about his vocals and then one/some/all of the John/Yoko/Phil crew ended up deciding to go down the minimalist path with the mix that went out to the LP-buying masses: or it’s possible that Phil was behind an augmented version being made as a production master for the LP, but somewhere along the way a change of heart happened). (I don’t have “Lennonology” and don’t know if the close relationship between the two versions was covered in the book, so I thought I’d share that info here ’cause I think it’s an interesting discovery).
Looking forward to giving this podcast a listen!
I found out something about “I Found Out” a couple of nights ago, when I was working in Audacity, synching up the version from the “Home Tapes” CD to the regular version from the Signature box set (with my usual “trial and error” methodology): the regular version is the same basic performance as the “Home Tapes” version, but there is a speed difference between the two (roughly 0.750%) and the regular version has been edited down and stripped of much of the overdubs (some additional vocals, bongos) contained on the “Home Tapes” version. (I’m guessing that the “Home Tapes” version is the original mix intended for release, with John possibly adding to the track with his usual insecurities about his vocals and then one/some/all of the John/Yoko/Phil crew ended up deciding to go down the minimalist path with the mix that went out to the LP-buying masses: or it’s possible that Phil was behind an augmented version being made as a production master for the LP, but somewhere along the way a change of heart happened). (I don’t have “Lennonology” and don’t know if the close relationship between the two versions was covered in the book, so I thought I’d share that info here ’cause I think it’s an interesting discovery).
Here is a question maybe someone could answer…so did Lennon actually play piano on the take of Something before adding that “Remember” coda? Ihave heard that part of it can be heard in that descending riff at the end of the bridge, anyone?
Here is a question maybe someone could answer…so did Lennon actually play piano on the take of Something before adding that “Remember” coda? Ihave heard that part of it can be heard in that descending riff at the end of the bridge, anyone?
It’s interesting to hear that it was John who played sitar on “Greenfield Morning…”: not sure if that might just be a verbal slip by Chip, as I thought the track was made using a looped sample of George playing sitar (with a looped sample of Ringo’s drumming being used as well).
The “Remember”-like coda was an off the cuff jam but it doesn’t really fit, sit or work well as an extension of “Something”: it could have been useful as something to build a “YO/POB” LP track with, though (and letting an unconfirmed rumour slip out via word of mouth through the hippie underground that “The Beatles reunite for a track on Yoko’s new LP” would have helped sales back in the day!).
I bought my copy of “YO/POB” in about 1980 as a second-hand US-made LP. It was (and still is) in excellent condition: I’ve been listening to it quite a lot lately, along with the edited Australian “JL/POB” LP!!
Something else I wanted to say was: it is undeniable (I think) that Marc Bolan was an influence on John in this time-frame. The acoustic “Cold Turkey”, with the double-tracked guitar-playing doesn’t seem like an off the cuff performance, more like something pre-planned and purposeful, his vocals an excellent simulation of Marc’s vocal styling. John’s electric guitar-playing on “Blue Suede Shoes” at Toronto was similar to Marc’s simple (but effective) electric-guitar playing and John manages to put on a Bolanesque vocal mannerism on “That’s Alright, Mama”.
Ringo would know if John was under Bolan’s spell during this time-frame, I’d guess.
It’s interesting to hear that it was John who played sitar on “Greenfield Morning…”: not sure if that might just be a verbal slip by Chip, as I thought the track was made using a looped sample of George playing sitar (with a looped sample of Ringo’s drumming being used as well).
The “Remember”-like coda was an off the cuff jam but it doesn’t really fit, sit or work well as an extension of “Something”: it could have been useful as something to build a “YO/POB” LP track with, though (and letting an unconfirmed rumour slip out via word of mouth through the hippie underground that “The Beatles reunite for a track on Yoko’s new LP” would have helped sales back in the day!).
I bought my copy of “YO/POB” in about 1980 as a second-hand US-made LP. It was (and still is) in excellent condition: I’ve been listening to it quite a lot lately, along with the edited Australian “JL/POB” LP!!
Something else I wanted to say was: it is undeniable (I think) that Marc Bolan was an influence on John in this time-frame. The acoustic “Cold Turkey”, with the double-tracked guitar-playing doesn’t seem like an off the cuff performance, more like something pre-planned and purposeful, his vocals an excellent simulation of Marc’s vocal styling. John’s electric guitar-playing on “Blue Suede Shoes” at Toronto was similar to Marc’s simple (but effective) electric-guitar playing and John manages to put on a Bolanesque vocal mannerism on “That’s Alright, Mama”.
Ringo would know if John was under Bolan’s spell during this time-frame, I’d guess.
Fairly recently, I heard “Working Class Hero” from the Willowbrook rehearsals. Is there a clean version of that? I think the version I heard was from Breakfast With The Beatles and the f-word was reversed. Just curious.
Fairly recently, I heard “Working Class Hero” from the Willowbrook rehearsals. Is there a clean version of that? I think the version I heard was from Breakfast With The Beatles and the f-word was reversed. Just curious.
The dialectic of Beatles’ historiography – Thesis: Yay John! Boo Paul. Antithesis: Yay Paul! Boo John. Synthesis: ?
The dialectic of Beatles’ historiography – Thesis: Yay John! Boo Paul. Antithesis: Yay Paul! Boo John. Synthesis: ?
This episode features a conversation between Luther Russell and I with producer John Leckie – if you aren’t familiar with his name, you may be with the acts he’s worked with (working backwards chronologically): My Morning Jacket – New Order – Radiohead – Robyn Hitchcock and The Egyptians – The Posies – Stone Roses – XTC – Dukes of Stratosphear – Human League – Simple Minds – Magazine – Be Bop Deluxe – Wizzard – Mott The Hoople – Barclay James Harvest – Syd Barrett – Pink Floyd – Roy Harper – Paul McCartney and Wings. For the purposes of our discussion, we focus on three key albums he worked on at the onset of his career: the pair of Plastic Ono Band releases by John and Yoko, and All Things Must Pass. It’s those first two that we examine in detail, fifty years on (well, a little Pink Floyd too). John has the stories and the insights – it was our honor to host him (and keep him from his dinner).
This episode features a conversation between Luther Russell and I with producer John Leckie – if you aren’t familiar with his name, you may be with the acts he’s worked with (working backwards chronologically): My Morning Jacket – New Order – Radiohead – Robyn Hitchcock and The Egyptians – The Posies – Stone Roses – XTC – Dukes of Stratosphear – Human League – Simple Minds – Magazine – Be Bop Deluxe – Wizzard – Mott The Hoople – Barclay James Harvest – Syd Barrett – Pink Floyd – Roy Harper – Paul McCartney and Wings. For the purposes of our discussion, we focus on three key albums he worked on at the onset of his career: the pair of Plastic Ono Band releases by John and Yoko, and All Things Must Pass. It’s those first two that we examine in detail, fifty years on (well, a little Pink Floyd too). John has the stories and the insights – it was our honor to host him (and keep him from his dinner).