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But the poetry on this album is superior to anything I've done because it's not self-conscious, in that way. So that was a good way of coming to San Francisco to see you. I read a review in Would you still be that nervous if you appeared in public? In me heart of hearts, I wish I was the only one in the world or whatever it is. You don't know what to say, because they're usually saying "I've got your record" or they can't speak and just want to touch you.

"Having a primal," or "primaling," is an extremely intense type of re-living/acting-out experience, around which many of Janov's theories are based.]John: Nobody knows there is a point on the first song on Yoko's track where the guitar comes in and even Yoko thought it was her voice, because we did all Yoko's in one night, the whole session. But it is like he fell in love with some girl or something and he wrote this song. Whether they have improved any, or whether anything happened. There's a lot of great guitarists and musicians around, but nothing's happening, you know. I consider myself in the avant garde of rock and roll. Because I expect more – maybe I expect too much from people – but I expect more. We were just a band that made it very, very, big that's all. What we generated was fantastic, when we played straight rock, and there was nobody to touch us in Britain. There are many, many people who would not like "Mother." It hurts them. The second time they start saying oh, there's a little . People aren't that hip; students aren't that aware; they're just like anybody else. Don't tell me that's what it's about, its really awful. It's a beautiful melody, and I'm not even known for writing melody. The ones on which I play guitar, I wrote on guitar; the ones on which I play piano, I wrote on piano. I like "I Want To Hold Your Hand." We wrote that together, it's a beautiful melody. He's looking for perfection all the time, and had these ideas that we would rehearse and then make the album.

In October they returned to England, where they made their new albums. we are going to put out "Oldies But Goldies" next for Yoko. Yoko: There is this thing that he just goes on falling in love with all sorts of things. Just before I record, I go buy a few albums to see what people are doing. Rock and roll is going like jazz, as far as I can see, and the bullshitters are going off into that which I never believed in and others going off ... Because we were performers – in spite of what Mick says about us – in Liverpool, Hamburg and other dance halls. He's a black guy that was on a concert and sang "Strawberry Fields" or something. I mean to sell as many albums as I can, because I'm an artist who wants everybody to love me, and everybody to buy my stuff. There is no great shakes to the idea of putting out something that's commercial to get people to buy the album; the question is which is most commercial, "Love" or "Mother"? The thing is "Love" would attract more people, because of the message, man! So if I laid "Mother" on them it confirms the suspicion that something nasty is going on with that John Lennon and his broad again. "Love" I wrote in a spirit of love for Yoko, and it has all that. Did you write most of the stuff in this album on guitar or on piano? It is no different, and it makes me feel secure to know that I was that aware of myself then. I don't like the recording that much; we did it too fast trying to be commercial. Paul had this idea that he was going to rehearse us.

Arthur Janov, author of ' The Primal Scream' (Putnam's), in Los Angeles, June through September of this year. Only when I'm recording or about to bring something out will I listen. I think there's a guy called Richie Valens, no, Richie Havens, does he play very strange guitar? But he doesn't seem to be able to play in the real terms at all. But the other part of me says well, I wish I could just do like B. I'm going to think about "Love." The original feeling was that there weren't enough things on the album to put out a single, only ten songs, only nine if you don't count "Mummy" and that means there's nothing to buy then. There's that side of the market and I'm not going to disregard it.

Those who aided in the transcribing and editing were Jonathon Cott, Charles Perry, Sheryl Ball and Ellen Wolper. I was right in the Maharishi's camp writing "I wanna die . I know we developed our own style but we still in a way parodied American music . That was our policy because we found it stupid and bullshit. Listen to it, and you'll hear what she is putting down. I'm influenced by her music 1000 percent more than I ever was by anybody or anything. Like Peter Brown in our office – and you can put this in – after we come in after six months he comes down and shakes my hand and doesn't even say hello to her. And we get into so much pain that we have to do something about it. We took "H" because of what the Beatles and others were doing to us. John: But let's not take away from what he did do, which expended a lot of energy and taught me a lot, and I would use him again. But as a concept and as a whole thing, I'm pleased, yes. If I get down to the nitty gritty, it would drive me mad, but I do like it really. Most takes are right off and most times I sang it and played it at the same time. But then I listen to the radio and I hear George's stuff coming over, well then it's pretty bloody good. There is nothing conceptually better than rock and roll. Dylan or Stones have ever improved on "Whole Lot of Shaking" for my money. The restof it is just like Lennon-Mc Cartney or something. You don't think then it's a legitimate "New Morning"? We were feeling shit already, because we had to reduce an hour or two hours' playing, which we were glad about in one way, to 20 minutes, and we would go on and repeat the same 20 minutes every night. That's why we never improved as musicians; we killed ourselves then to make it. George and I are more inclined to say that; we always missed the club dates because that's when we were playing music, and then later on we became technically, efficient recording artists – which was another thing – because we were competent people and whatever media you put us in we can produce something worthwhile. I'm OK, I'm not technically good, but I can make it fucking howl and move. I have to think in terms of going from "C" to "A", and I'm not quite sure where I am half the time. See, the ones I like are the ones that stand as words, without melody. He sort of set it up, and there were discussions about where to go, and all of that. I was stoned all the time and I just didn't give a shit. It was just like it was in the movie; when I got to do "Across the Universe" (which I wanted to rerecord because the original wasn't very good), Paul yawns and plays boogie. We put down a few tracks, and nobody was in it at all. We didn't want to know about it anymore, so we just left it to Glyn Johns and said, "Here, mix it." That was the first time since the first album that we didn't want to have anything to do with it. Nobody called anybody about it, and the tapes were left there. We got an acetate in the mail and we called each other and said, "What do you think?

Hear Jann Wenner's Legendary 1970 John Lennon Interview Rolling Stone founder and publisher Jann Wenner sat down with the ex-Beatle in December 1970 for what became one of the most legendary rock interviews ever What do you think of your album? ""I don't believe in magic," that series of statements. I didn't sit down to think, "I'm going to write about Mother" or I didn't sit down to think "I'm going to write about this, that or the other." They all came out, like all the best work that anybody ever does. like in India I wrote the last batch of best songs, like "I'm So Tired" and "Yer Blues." They're pretty realistic, they were about me. Then Mick Jagger came out and resurrected "bullshit movement," wiggling your arse. In case he's not sure of himself, he makes it double entendre. Paul was saying, "Don't call it ' Yer Blues,' just say it straight." But I was self-conscious and I went for "Yer Blues." I think all that has passed now, because all the musicians . She makes music like you've never heard on earth. When you record, do you go for feeling or perfection of the sound? I can't stand putting the backing on first, then the singing, which is what we used to do in the old days, but those days are dead, you know. Well, I was watching TV as usual, in California, and there was this old horror movie on, and the bells sounded like that to me. "Look At Me" was written around the Beatles' double album time, you know, I just never got it going, there are a few like that lying around. I haven't gone off it, it is just that "Primal" is like another mirror, you know. Or maybe I'm like our parents: that's my period and I dig it and I'll never leave it. No, It might be a new morning for him because he stopped singing on the top of his voice. I don't know whether the others still believe it. How did you choose the musicians you use on this record? When I'm holding a chord on the guitar it's only a sixth or seventh or something like that; on the piano, I don't know what it is. I know such a lot about the guitar, that with it I can be buskin'; if I want to write just a rocker, I have to play guitar, because I can't play piano well enough to inspire me to rock. What do you think are your best songs that you have written? They don't have to have any melody, like a poem, you can read them. It just was a dreadful, dreadful feeling in Twickenham Studio, being filmed all the time, I just wanted them to go away. You couldn't make music at eight in the morning in a strange place, with people filming you, and colored lights flashing. "We were going to let it out in really shitty condition. I thought it was good to let it out and show people what had happened to us, we can't get it together; we don't play together any more; you know, leave us alone.

I think it's realistic and it's true to the me that has been developing over the years from my life. They were the ones I always considered my best songs. It was just going on in my head and I got by the first three or four, the rest just came out. John Lennon and Yoko Ono interviewed on the Beatles and Plastic Ono Band In part two of a raw and remarkably candid interview, Lennon tells the stories behind some of the Beatles' biggest songs, goes in depth about the ongoing legal slog with his former bandmates and explains why he "[doesn't] believe in the Beatles myth." When did you know that you were going to be working towards "I don't believe in Beatles"? Yoko: He was going to have a do it yourself type of thing. That's what we were doing in Hamburg and smashing things up. We were all listening to Sleepy John Estes and all that in art school, like everybody else. I don't know how much they played her record later. You once said about "Cold Turkey": "That's not a song, that's a diary."So is this, you know. Janov showed me how to feel my own fear and pain, therefore I can handle it better than I could before, that's all. It doesn't just remain in me, it goes round and out. They just sounded like that and I thought oh, that's how to start "Mother." I knew "Mother" was going to be the first track so . What he does is just patching up something that is sort of interesting – so-so, or something. I'd sooner have "I Hear You Knocking" by Dave Edmonds, it's the top of England now. Let's re-approach that: always the Beatles were talked about – and the Beatles talked about themselves – as being four parts of the same person. There were 29 hours of tape, so much that it was like a movie. When I heard it, I didn't puke; I was so relieved after six months of this black cloud hanging over me that this was going to go out.And now I have Yoko there, and Phil there, alternatively and together, who sort of love me so that I can perform better, and I relaxed. It's like that, but the looseness of the singing was developing on "Cold Turkey" from the experience of Yoko's singing. I never liked the fruity Judy Collins and Baez and all of that stuff. I was very near to it many times in the past, but, I would deliberately put it in, which is the real hypocrisy, the real stupidity. In England it's the day they blew up the Houses of Parliament so we celebrate by having bonfires every November 5th, Guy Fawkes Day. There is only so much we could say, you know, with the pressure on us, to do and to perform. One has to completely humiliate oneself to be what the Beatles were, and that's what I resent. It happened bit by bit, gradually until this complete craziness is surrounding you, and you're doing exactly what you don't want to do with people you can't stand – the people you hated when you were ten.I've got a whole studio at home now, and I think it will be better next time, because that is even less inhibiting than going to E. So the only folk music I know is about miners up in Newcastle, or Dylan. It just was an ad lib: it was about the third take, and I got to remembering, and it begins to sound like Frankie Laine, you know, when you sing, (sings) "Remember the Fifth of November." I just broke up, and it went on for about another seven or eight minutes. That's where you have to make your artistic judgment to say well, this is the take and this isn't. "Well, pain is the pain we go through all the time. Pain is what we are in most of the time, and I think that the bigger the pain, the more God you look for. I don't know who wrote about it, or what anybody else said, I just know that's what Yoko: He just felt it. The bigger we got, the more unreality we had to face; the more we were expected to do until, when you didn't sort of shake hands with a Mayor's wife, she would start abusing you and screaming and saying "How dare they? And that's what I'm saying in this album – I remember what it's all about now you fuckers – fuck you! Janov, say if John fell in love, you know he is always falling in love with all sorts of things, from the Marharashi to all what not.[John and Yoko went through four months of intensive therapy with Dr. I'm really very embarrassed about my guitar playing, in one way, because it's very poor, I can never move, but I can make a guitar speak. You see, one part of me says yes, of course I can play because I can make a rock move, you know. They've been hinting around, they've been saying "Well, now, this looks like a John Lennon album, not Plastic Ono," well, to me it's Plastic Ono or I wouldn't put it out like that.Then I have an objective: "I'm going to do an act and this is what we are coming to do." And we settle down and we just talk. Always that nervous, but what with one thing and another, it just had to come out some way. It's always the mother or the nurse pushing them on you, they themselves would just say hello and go away, but the mothers would push them at you like you were Christ or something, as if there were some aura about you which would rub off on them.

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