So as a tribute I wrote, 'You'll have to have them all pulled out after the Savoy Truffle. At that time he had alot of cavities in his teeth and needed dental work. He always had a toothache but he ate alot of chocolates-- he couldn't resist them, and once he saw a box he had to eat them all. He was over at my house, and I had a box of 'Good News' chocolates on the table and wrote the song from the names inside the lid.
I got stuck with the two bridges for a while and Derek Taylor wrote some of the words in the middle-- 'You know that what you eat you are. I think I got them from an advert. I've let it go now, but it will come back if I really want it. Sometimes I get up from the piano as if I've been in a trance, and I know I have let a few things slip away which I could have caught had I wanted something. But then again, you know, it worked very well in the context of all those different songs. The mistake was that it was antirevolution.
It was the basic rhythm of the original 'Revolution' going on with some twenty tape loops we put on, things from the archives of EMI. We were cutting up classical music and making different-size loops, and then I got and engineer tape on which some test engineer was saying, 'Number nine. There were about ten tape machines with people holding pencils on the loops-- some only inches long and some a yard long. I fed them all in and mixed them live. I did a few mixes until I got one I liked.
Yoko was there for the whole thing and she made decisions about which loops to use. It was somewhat under her influence, I suppose. Once I heard her stuff-- not just the screeching and the howling but her sort of word pieces and talking and breathing and all this strange stuff, I thought, My God, I got intrigued I spent more time on 'Revolution 9' than I did on half the songs I ever wrote. It was a montage.
He's got a lot of soul, John has. It's his tune, uhh, which is surprising for John-- 'cuz he doesn't normally write this kind of tune. It's a very sweet tune, and Ringo sings it great, I think. The arrangement was done by George Martin, uhh, 'cuz he's very good at that kind of arrangement, you know-- very sort of lush, sweet arrangement.
John Lennon’s last interview, December 8, | Beatles Archive
We heard him sing it in order to teach it to Ringo and he sang it very tenderly. John rarely showed his tender side, but my key memories of John are when he was tender, that's what has remained with me-- those moments where he showed himself to be a very generous, loving person. I always cite that song as an example of the John beneath the surface that we only saw occasionally I don't think John's version was ever recorded. I took it very personally. We're going through the same bit. Whoever is going through a bit with us is going through it, that's the groove. He knew I was splitting with Cyn and leaving Julian then.
He was driving to see Julian to say hello. He had been like an uncle. And he came up with 'Hey Jude. Now I'm sounding like one of those fans reading things into it Think about it: Yoko had just come into the picture. He is saying. The angel in him was saying, 'Bless you. He wanted to do echo riffs after the vocal phrases, which I didn't think was appropriate. He didn't see it like that, and it was a bit of a number for me to have to 'dare' to tell George Harrison-- who's one of the greats-- not to play. It was like an insult.
But that's how we did alot of our stuff. Ringo walked out to go to the toilet and I hadn't noticed. The toilet was only a few yards from his drum booth, but he'd gone past my back and I still thought he was in his drum booth. I started what was the actual take-- and 'Hey Jude' goes on for hours before the drums come in-- and while I was doing it I suddenly felt Ringo tiptoeing past my back rather quickly, trying to get to his drums.
And just as he got to his drums, boom boom boom, his timing was absolutely impeccable. It sounds the way I wanted it to sound. I was just finishing off in the studio when I did that. The lyrics stand today. It's still my feeling about politics. I want to see the plan. Count me out if it is for violence.
Don't expect me to be on the barricades unless it is with flowers. For years, on the Beatles' tours, Brian Epstein had stopped us from saying anything about Vietnam or the war. And he wouldn't allow questions about it. But on one of the last tours, I said, 'I'm going to answer about the war. We can't ignore it. And get on with rocking because rockers is what we really are.
You can give me a guitar, stand me up in front of a few people. Even in the studio, if I'm getting into it, I'm just doing my old bit It's just natural.
Everybody says we must do this and that but our thing is just rocking. You know, the usual gig. That's what this new record is about. Definitely rocking. In the end it is always only a song. One or two tracks will make some people wonder what we're doing, but what we're doing is just singing songs. But of course Dylan taught us alot in this respect. We felt it was time to step back because that's what we wanted to do. You can still make good music without going forward. Some people want us to go on until we vanish up our own B sides.
They have a different feel about them. I missed the piano a bit because you just write differently. My piano playing is even worse than me guitar. I hardly know what the chords are, so it's good to have a slightly limited palette, heh heh. And we've tried to play more like a band this time-- only using instruments when we had to, instead of just using them for the fun of it.
We wrote them with guitars. And, on alot of his, John picks the guitar because he learned off Donovan when we were in India-- Donovan showed him how to fingerpick.
The definitive archive for Beatles fans
And while he was learning fingerpicking, I was sort of playing acoustic as well, you know. We decided not to try and cover them up like we might do normally. Paul must have done about a dozen. George says he's got six, and I wrote fifteen. And look what meditation has done for Ringo-- after all this time he wrote his first song. Because first of all, it's too big for people to really get into it. For reviewers and also the public. Maybe now people have bought it, and if they've really listened to it since it was out, then you know, they'll all have their own favorites.
That was the great thing about it-- there was all different types of music and types of songs. I find it heavy to listen to myself. In fact, I don't listen to it myself. We're doing this album, and I'm getting weird-- saying to me-self, 'I've gotta leave this band. It's not working,' you know. So I just said, 'Okay, I'm going on holiday,' and I went away for two weeks.
And then I got a telegram from John saying, 'Great drums' on the tracks we'd done. And I came back and it was great, 'cuz George had set up all these flowers all over the studio saying welcome home. So then we got it together again. We were all in the midst of the psychedelic thing, or just coming out of it. In any case, it was weird. Never before had we recorded with beds in the studio and people visiting for hours on end, business meetings and all that. There was alot of friction. It was the weirdest experience because we were about to break up-- that was tense in itself.
Yoko had other interests and John was hard work. People had to acquiesce. He was tough. My research indicates to me that both of them were growing very weary of the relationship and there were deep problems. One can only hope they would have had the strength of character to move on. He is described looking out of the window of his Dakota apartment wondering whether he should leap.
Giuliano recounts that Lennon had sinister premonitions of his own violent death. These came in a serious of chilling dreams. In one, Lennon read his own obituary and was charged with his own murder outside the Dakota. In another, he is approached in a restaurant by a chubby stranger with glasses and a gun.
He was an in-your-face, say-it-as-it-is guy. There was no guile in this man in his prime. Just give me some truth! Read Next. This story has been shared 74, times.
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