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As part of the Fab4ConJam online fan event, I convened these two Beatles insiders to take questions and reminisce. Chris O’Dell came from Tucson, AZ (yes! home of Jo Jo AND Linda) and was pulled into the Apple Press Office by Derek Taylor. She was a rooftop attendee as well as a one-time resident of Friar Park, witnessing the daily drama of the group as it ended, along with George and Pattie’s marriage. She recalled her experiences in 2009’s Miss O’Dell: My Hard Days and Long Nights with The Beatles, the Stones, Bob Dylan, Eric Clapton and the Women They Loved.Nancy Lee Andrews was a model, actress and briefly, in the music biz as well as a photographer. More importantly, she was Ringo’s romantic partner from 1974 through 1980, and likewise a witness to much of the inside relations between the former Beatles. (She also attended the Concert for Bangladesh as a guest of her then-boyfriend, bassist and Domino, Carl Radle.) Nancy’s book of spectacular photos was published as A Dose of Rock ‘n’ Roll in 2008.
These women have maintained a close friendship since the 70s and it was our treat to hear them recall those days during this terrific conversation.
This episode of Something About The Beatles is sponsored by BetterHelp.
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Another great show, Richard. I don’t know about you, but I found it odd that Chris kept insisting that John was the only straight one during the “Lost Weekend”, it was everyone else who was abusing drugs and alcohol – even in the studio. And, Harry Nilson who was being abusive at the troubadour, not John. Not sure if I believe these assertions based on every other account of his wild time in L.A.
Also, Nancy mentioned more than once that Ringo was first out of the gate with his ‘Ringo’ album. You never attempted to correct her that first of all the ‘Ringo’ album was released after several releases by all of the other solo Beatles – so he was not first out of the gate, and second, the first Ringo album was ‘Sentimental Journey’ (1970) not ‘Ringo’ (1973).
And, I couldn’t help but chuckle at your reaction (“interesting”) to the comment that ‘Double Fantasy’ is one of John’s best albums, having heard your opinion about that album on several other SATB episodes.
Sorry Robert, I called you Richard by mistake – I heard Richard being mentioned too many times. If you can correct it and delete this followup please go ahead. Hopefully when you get a new website you’ll be able to edit your own comments.
Well, Ringo was first out of the gate (with a non-experimental album) in March of 1970 with, as you mentioned, “Sentimental Journey” (which was released a month before “McCartney”), so to give her the benefit of the doubt, she is technically correct, but she just mentioned the wrong album.
And what a wild year for Beatles releases:
March – Sentimental Journey
April-McCartney
May- Let it Be
September- Beaucoup of Blues (more Ringo, for some reason)
November- All Things Must Pass
December- Plastic Ono Band
What was a contemporary Beatles fan to make of such a cavalcade of releases? All of them with such generally diverging approaches to both the sound and the material, notwithstanding the fact that Phil Spector has his hands on three of them.
I hope Robert doesn’t start correcting or arguing with guests when they share their life story. It’s for the best Robert doesn’t steam roll over with with his inhuman Beatle powers. Especially for life recollection type interviews — it would just hurt the vibe and openness needed for a good interview like this one. The rest of the supporting fans and Beatle knowers can help fulfill any critical footnotes. Plus, I think everyone has a right to be an authority on their own history and are allowed a bit of creative license with some of the minor facts. Also as Alan says, one can argue Ringo was the first for a proper commercial studio release
Another great show, Richard. I don’t know about you, but I found it odd that Chris kept insisting that John was the only straight one during the “Lost Weekend”, it was everyone else who was abusing drugs and alcohol – even in the studio. And, Harry Nilson who was being abusive at the troubadour, not John. Not sure if I believe these assertions based on every other account of his wild time in L.A.
Also, Nancy mentioned more than once that Ringo was first out of the gate with his ‘Ringo’ album. You never attempted to correct her that first of all the ‘Ringo’ album was released after several releases by all of the other solo Beatles – so he was not first out of the gate, and second, the first Ringo album was ‘Sentimental Journey’ (1970) not ‘Ringo’ (1973).
And, I couldn’t help but chuckle at your reaction (“interesting”) to the comment that ‘Double Fantasy’ is one of John’s best albums, having heard your opinion about that album on several other SATB episodes.
Sorry Robert, I called you Richard by mistake – I heard Richard being mentioned too many times. If you can correct it and delete this followup please go ahead. Hopefully when you get a new website you’ll be able to edit your own comments.
Well, Ringo was first out of the gate (with a non-experimental album) in March of 1970 with, as you mentioned, “Sentimental Journey” (which was released a month before “McCartney”), so to give her the benefit of the doubt, she is technically correct, but she just mentioned the wrong album.
And what a wild year for Beatles releases:
March – Sentimental Journey
April-McCartney
May- Let it Be
September- Beaucoup of Blues (more Ringo, for some reason)
November- All Things Must Pass
December- Plastic Ono Band
What was a contemporary Beatles fan to make of such a cavalcade of releases? All of them with such generally diverging approaches to both the sound and the material, notwithstanding the fact that Phil Spector has his hands on three of them.
Sorry guys… I meant “James” not Alan … btw, thanks Charles for your pointing that out though, I would have walked away thinking Ringo was the first post Beatle break-up album in general, when I mistakenly thought it was George. It was funny when she said “butt head Liverpool men” so it also sounds like she might not care less if Ringo was not the fist out of the gate, lol
I hope Robert doesn’t start correcting or arguing with guests when they share their life story. It’s for the best Robert doesn’t steam roll over with with his inhuman Beatle powers. Especially for life recollection type interviews — it would just hurt the vibe and openness needed for a good interview like this one. The rest of the supporting fans and Beatle knowers can help fulfill any critical footnotes. Plus, I think everyone has a right to be an authority on their own history and are allowed a bit of creative license with some of the minor facts. Also as Alan says, one can argue Ringo was the first for a proper commercial studio release
This was a great interview from these two incredible women. Why don’t you like Double Fantasy, Robert? If I’m just looking at the Lennon songs from that album, it was a comeback in the greatest ways possible. Some of his best solo songs come from that album. Yoko’s contributions may bring it down a little for me, but I grade the album mostly on his contribution.
Funny you ask, Marcus, because today I taped 2 and a half hours on the subject with Luther Russell!
My thoughts on DF have really alternated since 1980. Initially, I was as smitten as anyone but later I heard it through different ears and saw it closer to the perspective of Charles Shaar Murray who, in the UK press just weeks before December 8, said, “It sounds like a great life, but it makes for a lousy record,” and, “I wish Lennon had kept his big happy trap shut until he had something to say that was even vaguely relevant to those of us not married to Yoko.” I never thought John produced his finest art when he made it so specific that it was hard to relate to – universality was his STRENGTH. But mostly, DF leaves me with the feeling that I’m being pitched – being sold something, rather than the ring of authenticity he was renowned for.
There’s loads more to say, but maybe I’ll save it for the upcoming shows…
Interesting, because I had the opposite reaction. Initially, I was very underwhelmed by DF and agreed with most of the early reviews that were not good – musically the album sounded like a throwback to the 50s and the lyrical content was boring. I had no interest in listening to songs about how happy his domestic life was (even if it wasn’t). I’m Losing You was the best of the bunch. Of course after John’s death the album suddenly became a classic and I eventually grew to like some of it a bit more – although I prefer his material on M&H.
But the one thing that was great about DF I thought, was that finally he had a producer that made the record sound contemporary (those drums in Starting Over!) and got him out from under the weight of heavy echo that drowned all of his solo albums, as far as I was concerned. Never mind Let It Be, what about all the other solo albums that Phil Spector ruined? I could never understand why they liked him so much. At least Paul had the sense to not use Spector.
Forget wanting a clean mix of All Things Must Pass – it’s not possible. Can we have clean remixes of John’s solo work?
Fascinating take on DF by both the critic and yourself, Robert; hope to hear more of your thoughts on it. As a big sap I always loved DF — and was willing to put up with the “excess of democracy” on it because it was what John wanted. And turned out to be his last request for us fans. In a way that back-and-forth sequencing was something novel like Rev. 9 and seems important: not always a joy, but still cool and John’s vision.
That so intresting — see what you mean how there’s something of a sales pitch to DF (or as if John were trying to sell the John & Yoko love story to himself too). But life is hard and its something I wish were true, so I’ll take it. You may say he’s a dreamer after all.
Maybe John more than any artist erases the line between specific and universal (as how beat authors were specific about Neil Cassidy and pals — but in time they became part of fans’ imaginative lives too.) John was the most open book ever, even inviting us on his honeymoon — his specific really became our universal. Sure, maybe his purely “universal” songs are better. (His Paul bashing for sure hurt a great song). would be a fascinating discussion one day. Hope to hear more of your thoughts on it.
Congratulations on finding a good sponsor. I was intrigued by your description of what they offer and it was the first podcast where the sponsor didn’t trigger a fast forward. Better Help was it?? It seems pretty apt for days like these! Thanks for teaming up with something decent and cool!
This was a great interview from these two incredible women. Why don’t you like Double Fantasy, Robert? If I’m just looking at the Lennon songs from that album, it was a comeback in the greatest ways possible. Some of his best solo songs come from that album. Yoko’s contributions may bring it down a little for me, but I grade the album mostly on his contribution.
Funny you ask, Marcus, because today I taped 2 and a half hours on the subject with Luther Russell!
My thoughts on DF have really alternated since 1980. Initially, I was as smitten as anyone but later I heard it through different ears and saw it closer to the perspective of Charles Shaar Murray who, in the UK press just weeks before December 8, said, “It sounds like a great life, but it makes for a lousy record,” and, “I wish Lennon had kept his big happy trap shut until he had something to say that was even vaguely relevant to those of us not married to Yoko.” I never thought John produced his finest art when he made it so specific that it was hard to relate to – universality was his STRENGTH. But mostly, DF leaves me with the feeling that I’m being pitched – being sold something, rather than the ring of authenticity he was renowned for.
There’s loads more to say, but maybe I’ll save it for the upcoming shows…
Interesting, because I had the opposite reaction. Initially, I was very underwhelmed by DF and agreed with most of the early reviews that were not good – musically the album sounded like a throwback to the 50s and the lyrical content was boring. I had no interest in listening to songs about how happy his domestic life was (even if it wasn’t). I’m Losing You was the best of the bunch. Of course after John’s death the album suddenly became a classic and I eventually grew to like some of it a bit more – although I prefer his material on M&H.
But the one thing that was great about DF I thought, was that finally he had a producer that made the record sound contemporary (those drums in Starting Over!) and got him out from under the weight of heavy echo that drowned all of his solo albums, as far as I was concerned. Never mind Let It Be, what about all the other solo albums that Phil Spector ruined? I could never understand why they liked him so much. At least Paul had the sense to not use Spector.
Forget wanting a clean mix of All Things Must Pass – it’s not possible. Can we have clean remixes of John’s solo work?
Fascinating take on DF by both the critic and yourself, Robert; hope to hear more of your thoughts on it. As a big sap I always loved DF — and was willing to put up with the “excess of democracy” on it because it was what John wanted. And turned out to be his last request for us fans. In a way that back-and-forth sequencing was something novel like Rev. 9 and seems important: not always a joy, but still cool and John’s vision.
That so intresting — see what you mean how there’s something of a sales pitch to DF (or as if John were trying to sell the John & Yoko love story to himself too). But life is hard and its something I wish were true, so I’ll take it. You may say he’s a dreamer after all.
Maybe John more than any artist erases the line between specific and universal (as how beat authors were specific about Neil Cassidy and pals — but in time they became part of fans’ imaginative lives too.) John was the most open book ever, even inviting us on his honeymoon — his specific really became our universal. Sure, maybe his purely “universal” songs are better. (His Paul bashing for sure hurt a great song). would be a fascinating discussion one day. Hope to hear more of your thoughts on it.
Congratulations on finding a good sponsor. I was intrigued by your description of what they offer and it was the first podcast where the sponsor didn’t trigger a fast forward. Better Help was it?? It seems pretty apt for days like these! Thanks for teaming up with something decent and cool!
Wow, great work as always, a whole new line on the lost weekend here. …. Good for John! As he was raised by Aunt Mimi, I can see him staying clean to get a job done, but he must have partied off hours at least. The explanation for the tampon on his head was very intresting, sending a code to Yoko through the media. It seems like a thing John would do. But then again, it also sounds like something he would do for no reason at all (Hamburg toilet seats). I loved your guests, they were so funny and fascinating, loved their spirit. And it was a great interview, I think they enjoyed your interview very much. Keep that keyhole open, Robert!
Wow, great work as always, a whole new line on the lost weekend here. …. Good for John! As he was raised by Aunt Mimi, I can see him staying clean to get a job done, but he must have partied off hours at least. The explanation for the tampon on his head was very intresting, sending a code to Yoko through the media. It seems like a thing John would do. But then again, it also sounds like something he would do for no reason at all (Hamburg toilet seats). I loved your guests, they were so funny and fascinating, loved their spirit. And it was a great interview, I think they enjoyed your interview very much. Keep that keyhole open, Robert!