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T: Hi,

this is Tony McArthur in London with John Lennon.

Every time the Beatles release an LP or a single

the pop music business usually changes direction.

The change instigated by the latest contribution

Abbey Road must certainly be noticed.

In the show John exclusively discusses

the new Beatles collection track by track!

T: Hi, John(?).

The first track on LP is the Come Together song

which is your vocal and

in fact you wrote the song as well.(J:Yes.)

I’ve heard it supposedly would be the next American single.

J: Now, if anything, it might be the B-side

and I think probably we’ll put Something out

as single out there.

I think that’s about the best track on the album,

the George’s track.

And they had it... you know how they always

get our records before they are out over there somehow.

We’ve got spies in England who send them the tapes.

And they were playing Something so much

they had an advanced thing of it,

a red-hot of thing(?) over there.

So we’ll probably release it

over there as an single.

I don’t know what will happen here.

T: The Come Together side is

a fairly different song as far as the group’s concerned.

J: The Come Together track.

T: Yeah.

J: I don’t know how that happened y’know.

I think it’s pretty funky y’know.

I’m biased cause it’s my song. I dig it, y’know.

And it just happened well y’know.

It’s a nice funky song on it.

T: What was the effect that runs off from the beginning?

We’re gonna hear it. It runs off from the beginning.

It’s sort of whistling to ...

J: Oh it’s me going schhh~shh~ on tape record(?)

T: And it’s sort of compressed then, is it?

J: No, it’s not compressed.

It just sort of goes Schh~ through my hands like that.

T: Great. We’ll hear the record now.

Come Together.

T: The next track is the one we were talking about

a moment ago, which is Something.

And I’m sure I agree that

both George’s songs on this LP

were probably the most commercially written.

Is that a good or bad thing?

J: I think it’s very good y’know.

Because they are not sort of the good commercial y’know.

They are still funky tracks, both of them.

T: Yes, well. I’d imagine there’ll be

quite a few cover versions as always,

y’know, for singles of this LP. Would it seem...

J: No, we’ll get the first cover out,

this is the point y’know,Something . (T:hhh)

T:That will be (?) around America.

J: White Trash(a band?) have just done a...

Oh, what’s the one?

Oh, Golden Slumbers,

from the B-side of the track,

part of the sort of the medley part,

so that makes a quite good version.

Now get plugged in for the White Trash.

T: Why not? OK, it’s George’s song.

It’s called Something.

T:Oh this is...

If you go through the LP from top to bottom,

it’s Paul’s first contribution,

Maxwell’s Silver Hammer, which is umm...

I don’t know,

it’s fairly typical of a lot of songs Paul’s written.

John, is it?

J: Yes. It’s a typical McCartney sing-along,

whatever you call them.

He did quite a lot of work on it.

I was in...

I was ill after the accident when they did the most of that track.

And I believe he really ground

George and Ringo into the ground recording it, y’know.

T: Now that you’re all obviously occupied in

diverse fesitive(?) business, y’know.

Are there any tracks anyone of you

sort of have done it on your own,

completely on your own on this LP?

Or have they been collective efforts?

J: No, not really. I wasn’t on Maxwell.

Think I was on everything else, y’know.

It was just a way for that.

T: OK. Maxwell’s Silver Hammer, Paul McCartney.

T: It seems, John, that this is a very strong melodic...

Umm, I thought it always has been, your music.

But in the context of other music that’s going on today,

Abbey Road has got a lot of very strong melody lines.

And I think it’s, probably known as,

powerful electronic as say, your last LP,

or the Pepper, I think.

J: You know, maybe, I don’t know, y’know.

J: ??the end I want here(?）, y’know.

T: True, oh yeah. J: ??Not really

T: Yeah. Of course. This track, the next one,

Oh Darling, is...

J: Oh yeah, that’s uh...

T: Sort of 58 job, is it?

J: Yeah. We like that stuff, y’know.

Oh Darling~

T: So this probably ties in with your recent act(?) in Canada,

or you really got...

J: I’ve got rock’n’roll revival, oh yeah.

It was a fantastic scene.

T: What actually happened there?

Was it just regular rock’n’roll type of constants(?)...

J: Yeah. Chuck Berry, Bo Diddley, Jerry Lee Lewis,

Little Richard, and the others(?)

and Plastic Ono Band,

which is me, Yoko, Eric Clapton,

Klaus Voorman(bass), the man’s of man(?)

and Alan White (drums) or Alan Price,

or ex-Alan Price.

T: And you did all rock’n’roll songs?

J: Well, when it gets starts at Nitty Gritty,

I don’t know the words to any songs,

who ended up I know Blue Suede Shoes,

from the 50s y’know.

So we did Blue Suede Shoes, Money, Dizzy (Miss Lizzy).

We didn’t get a piece of chance on our new songs,

on our great Cold Turkey.

We really blew(?) it, y’know.

It’s great singing it.

(Yoko: He wasn’t good(?) about it. He wasn’t like(?) revival,

but he begins just like...(?)

J: We progressed it, the things we always progress it was on it, y’know.

But it ended like we got completely freaked out

with Yoko taking over, and Eric and all of us

just blowing the amplifiers

as much as they go y’know.

T: And uh...

Was there any rehearsal involved in this, or you just ???...

J: We tried to rehearse on the plane as possible,

but we couldn’t hear a thing

because we didn’t have the amps.

Then we did one run-through at the backstage,

right through the numbers once.

But the groups was so funky,

they just picked it up y’know.

T: And is there any chance of this being a nuclear

sort of the permanent Plastic Ono Band or...?

J: Uhh... It could be, y’know.

But I mean everybody sort of contracted

or things like that. I suppose Eric was.

But I suppose Plastic Ono Band could be pretty flexible y’know,

because it is plastic.

T: Hhhh. But it’s quite possible.

It’s kinda be a reality from now on,

the Plastic Ono Band.

J: Yeah, until we get fed up with it, y’know.

T: Yeah. J: I’m enjoying it at the moment.

We make no plans to go around(?).

Two guys rank up(?) and that’s all.

Who cannot get... who can come along and play live with me, y’know.

And then there were the guys.

T: Is there any chance of the Beatles playing live again?

J: I don’t know. But there is always a chance, y’know.

But if the Beatles’s playing live, it is a different matter.

We’ve got that great thing to live up to. It’s a harder gig.

But just for me and Yoko to go out,

we can get away with anything.

J&T: (simultaneously) I hope. T: Hhhh.

T: Right. We get back to the business

with the Oh Darling track from Paul.

T: Ringo’s track is the next one, the Octopus’s Garden,

which reminded me for some reason of the Yellow Submarine, cartoon film.

J: Yeah, that thing is the bubble bubble y’know,

the factor that is under the sea bit,

T: I suppose it was his really(?)?

It doesn’t have other collection(?)?

J: No, except that it’s about the bottom of the sea y’know,

getting away from it all.

T: And this is in fact the only song that Ringo wrote on the LP.

J: Yeah. Well, it’s been a few years before

his production is going as fast as ours.

It took George a few years.

T: And is this the only track on this LP

that Ringo sings on as well as I know?

J: Yeah. I think he’s done a bit harmony here and there,

cause at the time I was away they laid

a few harmony tracks on some of the medley bit. T: Oh yes.

J: So I think Ringo’s doing a bit of harmony here and there, too.

T: It’s a pretty... sing-along sort of song.

J: It’s a ring-along~ sing-along, y’know. Haha!

T: Yeah. It’s very good vocs(?). Octopus’s Garden.

T: I Want You (She’s so Heavy). J: Correct.

T: Right. It’s... I suppose it is the heaviest track on the LP if we’re gonna get into that uh...

J: Yeah. T: Begism(?), is it? J: It’s pretty heavy.

The end, y’know, cause we used moog synthesizer on it.

T: Oh that’s what all that electronic ...?

J: Yeah. The range of this song is from, y’know,

minus whatever to way over what you cannot hear, y’know.

That machine, the Moog synthesizer can do all sounds, y’know,

all ranges of sounds. So we did that on the end.

So if you were a doggy, you could hear a lot more.

T: So any dog’s listening will get this together.

John, what do you speak about

playing the Moog synthesizer?

I understand that there are ?? states

who can get these together. (J: I got robot.)

J: Yeah. George can work it a bit.

I mean it’ll take all your life to

learn all the variations on it. But uh...George’s got one.

And a few people in England have got them,

and they just sort of experiment it with them.

He used it on Billy Preston’s LP.

And he also played it in the solo in Because,

and I think in Maxwell they come in, too.

It’s here and there on the album y’know.

T: So it’s matter of sort of facing it(?)

instead of just doing it at the time?

J: Yes yes. You can make it play anything y’know,

any style, any freaky... or just playing, y’know,

it sounds like trumpets or things if you want it to.

T: Can it in fact be sort of set to play a particular pattern or ...

J: Yeah, I think it can just go off on its own, y’know.

I mean you could get it to play Arte Crisno(?)

on its own forever y’know.

See what happens to it.

T: Yeah. There’s a frightening prospects

of a Moog synthesizer concert that’s output(?).

J: That’ll be a great Plastic Ono Band y’know,

with Moog synthesizer, just went on

sang and play everything on its own.

T: Because I suppose technically the notes

will be perfect anyhow, wouldn’t it?

J: Yeah. It just needs one guy to switch it on, y’know.

T: And then leave. Collect the tickets at the door. (J:Yeah.)

OK, this is the track called I Want You(She’s so Heavy).

T: This part we sort of get to turn the record over.

And the second George Harrison’s track

is Here Comes the Sun, which is again

another very catchy and melodic song.

J: Yeah. It reminds me of sort of

Buddy Holly in the way, y’know.

T: Yes, I saw what you mean. It’s certainly

that very strong melody line again.

Is there any uh..

I know there’s just no reason when one person writes song,

but I think it’s such a dramatic change for George.

J: I don’t know, y’know.

I mean it’s just the way that he’s progressing.

He’s writing all kinds of songs.

He wants the door open.

It’s the floodgates open. You can’t sort of...

It’s an effort to concerntrate on

writing certain kinds of songs, y’know.

Like I preferred writing just non-melodic straight rock,

(but) I can’t help writing other things.

I think that thing supplies to all of us.

The songs just come out, y’know.

T: John, when you got this LP together,

did you select from a large number of tracks

or did you virtually have a, y’know, ...

J: No, not from a large number of tracks,

from a large number of songs. Each of us has got, y’know,

maybe about ten songs that contribute to an album.

You can’t get more on.

So when it’s your turn to record as it were,

people picked the ones you want on most really.

T: So then I suppose it gets to a point of

a musical balance of the LP, too, hasn’t it?

J: Yes. It gets into that.

T: Right. George Harrison’s song.

It’s called Here Comes the Sun.

T: The next track is another song of yours, John.

It’s called Because. And I seem to

take some classic overturn in this. Is it by design or...?

J: Yeah, sort of, y’know.

Yoko plays classical piano.

She was playing one day

and I don’t know what it was,

Beethoven or something.

I said give me that chords backwards.

And I wrote Because on it, on top of it.

Yoko: Moonlight Sonata.

J: Moonlight Sonata, backwards, something like that.

T: It also had the harmony structure...

is also slightly different from some of the harmonies

you used in recording before.

J: I wouldn’t know, y’know.

I just ask George Martin or whoever’s around

and said what’s the alternatives to

thirds and fifths of the only one’s I know.

And he plays them on the piano.

And ( I said) Oh we’ll have that one, y’know.

I couldn’t tell you what they are.

I just know it harmonies.

T: It is also a very long song, isn’t it?

J: It isn’t. It’s amazing. It’s the shortest one on it,

only about 2 minutes something.

T: Oh, or is it because it sort of gets off into the...

J: It gets off. And then it gets to the long... the medley.

T: Ah, right. Now, uhh, let’s get into it right now.

We will talk about the medley in a moment.

The song called Because.

T: The medley comes next on the LP.

This is really a whole piece of music joint...

I mean repeated phrases come back on the way through it.

J: It’s also a good way of getting rid of

bits of songs written out of years, y’know.

T: So this is going a collective piece

of songs running, there wasn’t any...

J: Yeah. I mean George and Ringo in fact

wrote a bit of it as we did it, y’know,

literally I was in between bits and breaks into it.

Paul would say we’ve got 12 bars in(?),

let’s fill it in. And we’d fill it in on the spot.

T: There’s also a couple of songs also link together,

where there are some of characters...

J: Oh yeah, I was just look ...

My contribution to it was Polythene Pam,

Sun King and Mean Mister Mustard.

So we just juggle it about and try to make vague sense.

In Polythene Pam... in Mean Mister Mustard

I said “his sister Pam” and orignally I said

“his sister Shelly” in the lyrics.

I changed it to “Pam” to make it sounds

like it has something to do with it.

T: OK. We’ll get into the first part of the medley, which is...

As we get to it, it’s another thing with Paul,

and this piano... The first part.

Was Paul on piano?J: Oh, he was always on piano.

He can’t get him off.

T: Hhh. OK, You Never Give me your Money.

J: Right!