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Post by Panther on Feb 15, 2010 4:24:52 GMT -5
The baseball game-scoreboard of Lennon LPs up to bat goes like this:
Home runs: 1. PLASTIC ONO BAND 2. IMAGINE
Triple: 3. DOUBLE FANTASY
Double: 4. WALLS AND BRIDGES
Single: 5. MIND GAMES
Strike-Outs: 6. SOMETIME IN NEW YORK CITY 7. ROCK AND ROLL
Only a mind like John's could veer from absolute, staggering genius to the depths of the lowest crap within one or two years!
I do also feel a bit disappointed that he didn't just put out a real John Lennon album in 1980, rather than sharing a record with Yoko -- nothing wrong with Yoko's stuff at the time, but at that moment he really needed to put himself back into the driver's seat and make a bid for superstardom again.
Some of you mentioned the 1990s Lennon box-set: I really feel that is a perfect 4-disc summation of the great man's stuff. I don't think it could have been any better!
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Post by Joe Karlosi on Feb 15, 2010 7:57:26 GMT -5
I do also feel a bit disappointed that he didn't just put out a real John Lennon album in 1980, rather than sharing a record with Yoko -- nothing wrong with Yoko's stuff at the time, but at that moment he really needed to put himself back into the driver's seat and make a bid for superstardom again. Well, I think that for some artists it's more about the work and reporting on what they're going through at the time, not just trying to be a superstar or releasing something that'll make them #1. Paul was more likely to make something just for the hit parade. I do think John WANTED the album to be successful and hopefully a hit, but I think it was more important for him to release it how he wanted it to be.
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Post by Panther on Feb 15, 2010 10:54:12 GMT -5
I think it was more important for him to release it how he wanted it to be. So, you're saying he preferred a collaborative album to a more successfull, well-received, bigger-selling album? Yes, you're right -- he did, obviously. And I'm saying that I would have preferred otherwise. I do respect the fact that John did things his own way instead of to any conventional norm -- indeed, it's one of the very things that make him him -- but there are times when commercial artists are better off doing things the commercial way. It doesn't mean you have to become a total sell-out, but if you're been out of action for five years and haven't produced your top-drawer work for 9 (which was John's position in 1980), I do think a straight-ahead Lennon album would have been the way to go. (There are sources, by the way, that suggest that John himself didn't want to do a collaborative album with Yoko in 1980, but that she pushed him into it. I don't necessarily believe that, but it is certainly possible -- they were a partnership in everything, including the business decisions regarding John's career, which Yoko managed.)
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Post by Joe Karlosi on Feb 15, 2010 12:27:36 GMT -5
No way would I believe that John didn't want Yoko involved, or that she "forced the issue". On the contrary, he wouldn't have done it any other way. In his last interview he said he'd be happy to go out there and tour "If we would be accepted as JohnandYoko".
Also, Yoko - in one of these last interviews with John - said she didn't want to spoil his chance again, so she was somewhat hesitant. And also about screaming and warbling on the album, which is why she only did a little at the end of I'M MOVING ON and KISS KISS KISS.
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Post by acebackwords on Feb 16, 2010 12:25:30 GMT -5
I think it was more important for him to release it how he wanted it to be. (There are sources, by the way, that suggest that John himself didn't want to do a collaborative album with Yoko in 1980, but that she pushed him into it. I don't necessarily believe that, but it is certainly possible -- they were a partnership in everything, including the business decisions regarding John's career, which Yoko managed.) This might be a little gossipy, but according to Fred Seaman, who lived with John-and-Yoko during their last year, Yoko had completely lost interest in John, and was even considering divorcing him. ("I'm Losing You" neatly expresses John's feeling on the subject) She even had Sam Havodtoy's boyfriend move all of John's stuff out of the bedroom and into a separate apartment in the Dakota. She changed her mind right before John came back to New York to start recording "Double Fantasy." John himself was eager to get Yoko back into his life, and I think collaborating on an album was a convenient way to do it. According to Seaman, she had to hammer away at him to come around to the idea of sharing the album, and she's the one who insisted they alternate tracks. Suspect Lennon (and most fans) would have preferred to load up Yoko's songs on the B side. There's some hilarious interplay in Seaman's book about the "Double Fantasy" sessions. John's exasperation over Yoko's dirge-like songs, and his frustrated attempts to get her to up-grade her monotonous rhythms and melodies. As well as desparate attempts to get the studio musicians to "spice up" Yoko's stuff.
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Post by Joe Karlosi on Feb 17, 2010 6:40:21 GMT -5
This might be a little gossipy, but according to Fred Seaman, who lived with John-and-Yoko during their last year, Yoko had completely lost interest in John, and was even considering divorcing him. ("I'm Losing You" neatly expresses John's feeling on the subject) She even had Sam Havodtoy's boyfriend move all of John's stuff out of the bedroom and into a separate apartment in the Dakota. She changed her mind right before John came back to New York to start recording "Double Fantasy." John himself was eager to get Yoko back into his life, and I think collaborating on an album was a convenient way to do it. According to Seaman, she had to hammer away at him to come around to the idea of sharing the album, and she's the one who insisted they alternate tracks. Suspect Lennon (and most fans) would have preferred to load up Yoko's songs on the B side. There's some hilarious interplay in Seaman's book about the "Double Fantasy" sessions. John's exasperation over Yoko's dirge-like songs, and his frustrated attempts to get her to up-grade her monotonous rhythms and melodies. As well as desparate attempts to get the studio musicians to "spice up" Yoko's stuff. Don't even get me started on that criminal, that thief. I have "Semen's" book and I've read it - so I already know all his bullsh&t stories. One of my favorites is the one immediately after John was murdered where Semen paints himself as the only single person in John's entourage who even felt sad. Semen acts like he is the "only one who cared about John", while Yoko and everyone else just ran the Dakota like a circus and even seemed glad to go into business action only minutes and hours after John's assassination. What a load of horse crap. Semen even goes as far as to make him look saintly enough to start tearing up and even wanting to hug Yoko. Give me a break. But yes, there are a load of Lennon fans who, after having read that book, have listened to this evil devil and now take all his tabloid fodder as "100% fact". And such is the problem with books like this. I think much of it is nonsense, the hateful result of a man who felt he had an axe to grind against Yoko in particular, and who set out to squash her, or the "Lennon/Ono realtionship", at the very least. He stole John's belongings and is an angry leech with an axe to grind, especially against Yoko.
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Post by Steve Marinucci on Feb 17, 2010 9:19:03 GMT -5
This might be a little gossipy, but according to Fred Seaman, who lived with John-and-Yoko during their last year, Yoko had completely lost interest in John, and was even considering divorcing him. ("I'm Losing You" neatly expresses John's feeling on the subject) She even had Sam Havodtoy's boyfriend move all of John's stuff out of the bedroom and into a separate apartment in the Dakota. She changed her mind right before John came back to New York to start recording "Double Fantasy." John himself was eager to get Yoko back into his life, and I think collaborating on an album was a convenient way to do it. According to Seaman, she had to hammer away at him to come around to the idea of sharing the album, and she's the one who insisted they alternate tracks. Suspect Lennon (and most fans) would have preferred to load up Yoko's songs on the B side. There's some hilarious interplay in Seaman's book about the "Double Fantasy" sessions. John's exasperation over Yoko's dirge-like songs, and his frustrated attempts to get her to up-grade her monotonous rhythms and melodies. As well as desparate attempts to get the studio musicians to "spice up" Yoko's stuff. Don't even get me started on that criminal, that thief. I have "Semen's" book and I've read it - so I already know all his bullsh&t stories. One of my favorites is the one immediately after John was murdered where Semen paints himself as the only single person in John's entourage who even felt sad. Semen acts like he is the "only one who cared about John", while Yoko and everyone else just ran the Dakota like a circus and even seemed glad to go into business action only minutes and hours after John's assassination. What a load of horse crap. Semen even goes as far as to make him look saintly enough to start tearing up and even wanting to hug Yoko. Give me a break. But yes, there are a load of Lennon fans who, after having read that book, have listened to this evil devil and now take all his tabloid fodder as "100% fact". And such is the problem with books like this. I think much of it is nonsense, the hateful result of a man who felt he had an axe to grind against Yoko in particular, and who set out to squash her, or the "Lennon/Ono realtionship", at the very least. He stole John's belongings and is an angry leech with an axe to grind, especially against Yoko. Interestingly, Seaman was at the Yoko concert last night in New York.
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Post by acebackwords on Feb 17, 2010 15:21:19 GMT -5
Don't even get me started on that criminal, that thief. I have "Semen's" book and I've read it - so I already know all his bullsh&t stories. . Hopefully we can agree to disagree on this one. I think its a great book. Most of it has the ring of truth to me. Though some of it is surely self-serving, as you point out. And his bullshit about stealing the diaries because he supposedly wanted to give them to Julian is surely a laugher. I'm shocked to hear he was at a Yoko show. Is that a joke?
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Post by Steve Marinucci on Feb 17, 2010 17:52:05 GMT -5
Don't even get me started on that criminal, that thief. I have "Semen's" book and I've read it - so I already know all his bullsh&t stories. . Hopefully we can agree to disagree on this one. I think its a great book. Most of it has the ring of truth to me. Though some of it is surely self-serving, as you point out. And his bullshit about stealing the diaries because he supposedly wanted to give them to Julian is surely a laugher. I'm shocked to hear he was at a Yoko show. Is that a joke? No, it was not. Charles Rosenay was at the show and saw him.
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nine
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Post by nine on Feb 19, 2010 6:10:19 GMT -5
From an interview with Jack Douglas......
Q: What did you think of Seaman, by the way? He's now like this vilified character.
A: Fred, was like, you know, he just got hammered, man, I mean, there was no - John loved him and he was hired to be John's assistant. I mean, wherever John went, he brought Fred, you know? And, I mean, Fred, he probably made a couple of mistakes. But what he got nailed for was like really off the wall. John - and I was there - John used to get things sent to him, not just one thing, he'd get a boom box, or a cassette machine, they'd send him two, three of them, or they'd just send him one - he just didn't want all the stuff that he used to get from companies. Everybody would just want him to say "I use this," you know. And he was getting complimentary stuff all the time and he told Fred one day, "Take that," he says, "Go in the room, Fred, and take whatever you want, man, you can have it." And Fred went in and he took stuff and he brought it home and it was practical stuff he could use but Yoko had somebody always keeping an inventory of everything that was in that room and so, I mean, you know, Fred never, like, signed this stuff out. John told him, "Keep it Take it, I don't want that crap," and when Fred finally got nailed it was because they said, well you know, "There's this stuff missing and you might find it at Fred Seaman's house." And once they went there, they matched the serial numbers, it was like a grand larceny rap. And so, that's what he got taken down on and it was really like, you know, he was there to keep a journal for John...and whatever John ever asked him to do, Fred was like right there. It was a bum rap.
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nine
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Post by nine on Feb 19, 2010 6:16:14 GMT -5
I think it was more important for him to release it how he wanted it to be. So, you're saying he preferred a collaborative album to a more successfull, well-received, bigger-selling album? Yes, you're right -- he did, obviously. And I'm saying that I would have preferred otherwise. I do respect the fact that John did things his own way instead of to any conventional norm -- indeed, it's one of the very things that make him him -- but there are times when commercial artists are better off doing things the commercial way. It doesn't mean you have to become a total sell-out, but if you're been out of action for five years and haven't produced your top-drawer work for 9 (which was John's position in 1980), I do think a straight-ahead Lennon album would have been the way to go. (There are sources, by the way, that suggest that John himself didn't want to do a collaborative album with Yoko in 1980, but that she pushed him into it. I don't necessarily believe that, but it is certainly possible -- they were a partnership in everything, including the business decisions regarding John's career, which Yoko managed.) Again, Jack Douglas..... Q: Tell me about the secretiveness of the sessions. A: Well, I'll go back a little bit here...You probably already know the story that I got flown out in a sea plane to Glen Cove to the big house out there and a seaplane right onto the beach, hush-hush, and I already knew I was being asked to do a record because I had already gotten the phone call from Yoko and John. He's going back, he wants to talk to me about making this record; "Don't say anything to anyone; just go to 34th Street, get on a seaplane and come out." And I came out and Yoko said to me, she handed me the envelope "For Jack's Eyes Only." Or was it "For Jack's Ears Only"? Maybe it was both. And she said, "John is going to call you in a few minutes." She said, "But I just want to tell you, he's going to ask you to do a record." I went, "Cool, that's great." "You would produce it with us." "Cool." She said, "I'm going to have a few songs on it and John doesn't know yet." "OK." She said, "You can't tell him." "All right; you tell him." So I had opened the tape; there was one cassette from John. And Yoko said, "Now here's some of the songs," so she handed me a thing, like a stack...
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Post by Joe Karlosi on Feb 19, 2010 6:54:14 GMT -5
Again, Jack Douglas..... She said, "I'm going to have a few songs on it and John doesn't know yet." "OK." She said, "You can't tell him." "All right; you tell him." So I had opened the tape; there was one cassette from John. And Yoko said, "Now here's some of the songs," so she handed me a thing, like a stack... OK, but I'm not sure what you are getting at by posting this. You don't take this to mean that Yoko was somehow insisting that her songs were going to be on the album "whether John liked it or not", and didn't tell John or something, do you? Don't forget that Yoko and John both were writing songs and playing them to each other during the time they were planning on coming out to the public again. John loved it, and felt even more excited about writing his own songs to sort of compete with Yoko's; they inspired one another, when John was in Bermuda and Yoko would relay hers for him over the phone. The dual collaboration was part of the concept of the new album from the very beginning, and John wouldn't have returned to recording otherwise. Jack Douglas is also a man who changed his tune way after John was murdered, I believe in the same way that Fred "Semen" did. There was also a huge falling out between Douglas and Yoko. There's a big difference between the Jack Douglas who loved and praised John and Yoko on the Tom Snyder show the night John was killed (you may have seen that interview with him) and then all these other about-face recollections he twisted years after he had his falling out with LenOno.
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Post by Joe Karlosi on Feb 19, 2010 7:09:50 GMT -5
From an interview with Jack Douglas...... Q: What did you think of Seaman, by the way? He's now like this vilified character. A: Fred, was like, you know, he just got hammered, man, I mean, there was no - John loved him and he was hired to be John's assistant. I mean, wherever John went, he brought Fred, you know? And, I mean, Fred, he probably made a couple of mistakes. But what he got nailed for was like really off the wall. John - and I was there - John used to get things sent to him, not just one thing, he'd get a boom box, or a cassette machine, they'd send him two, three of them, or they'd just send him one - he just didn't want all the stuff that he used to get from companies. Everybody would just want him to say "I use this," you know. And he was getting complimentary stuff all the time and he told Fred one day, "Take that," he says, "Go in the room, Fred, and take whatever you want, man, you can have it." And Fred went in and he took stuff and he brought it home and it was practical stuff he could use but Yoko had somebody always keeping an inventory of everything that was in that room and so, I mean, you know, Fred never, like, signed this stuff out. John told him, "Keep it Take it, I don't want that crap," and when Fred finally got nailed it was because they said, well you know, "There's this stuff missing and you might find it at Fred Seaman's house." And once they went there, they matched the serial numbers, it was like a grand larceny rap. And so, that's what he got taken down on and it was really like, you know, he was there to keep a journal for John...and whatever John ever asked him to do, Fred was like right there. It was a bum rap. Yeah. "Birds (or rats, in this case) Of A Feather Flock Together". Fred stole John's personal belongings (like his journals) after John was gone. Not while Lennon was still alive and said "help yourself"... and certainly NOT such personal items like John's own diaries.
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nine
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Post by nine on Feb 19, 2010 7:53:32 GMT -5
Again, Jack Douglas..... She said, "I'm going to have a few songs on it and John doesn't know yet." "OK." She said, "You can't tell him." "All right; you tell him." So I had opened the tape; there was one cassette from John. And Yoko said, "Now here's some of the songs," so she handed me a thing, like a stack... OK, but I'm not sure what you are getting at by posting this. You don't take this to mean that Yoko was somehow insisting that her songs were going to be on the album "whether John liked it or not", and didn't tell John or something, do you? Don't forget that Yoko and John both were writing songs and playing them to each other during the time they were planning on coming out to the public again. John loved it, and felt even more excited about writing his own songs to sort of compete with Yoko's; they inspired one another, when John was in Bermuda and Yoko would relay hers for him over the phone. The dual collaboration was part of the concept of the new album from the very beginning, and John wouldn't have returned to recording otherwise. Jack Douglas is also a man who changed his tune way after John was murdered, I believe in the same way that Fred "Semen" did. There was also a huge falling out between Douglas and Yoko. There's a big difference between the Jack Douglas who loved and praised John and Yoko on the Tom Snyder show the night John was killed (you may have seen that interview with him) and then all these other about-face recollections he twisted years after he had his falling out with LenOno. I was responding to a previous post that suggested that John initially was going to cut a Joun Lennon album.
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Post by acebackwords on Feb 19, 2010 14:11:02 GMT -5
Interestingly, Seaman was at the Yoko concert last night in New York. Amazing. Has anybody heard what kind of show Yoko put on? Any reviews posted anywhere. And does anyone know what Fred Seaman's up to these days? Does he have a website or anything, or has he slunk off the stage?
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Post by ursamajor on Feb 19, 2010 17:27:22 GMT -5
Fred Seaman issues a statement in 2002 retracting alot of what he said in his book.
Yoko is right in all of this. John's diaries were stolen and given to Robert Rosen so he could write the "tell-all" book on John but when Yoko won the court case and the diaries handed back Robert Rosen's book Nowhere Man was now based on "accounts" from the stolen diaries. In other words this guy had lost the documentation to write his book.
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Post by Steve Marinucci on Feb 19, 2010 22:13:27 GMT -5
Fred Seaman issues a statement in 2002 retracting alot of what he said in his book. Yoko is right in all of this. John's diaries were stolen and given to Robert Rosen so he could write the "tell-all" book on John but when Yoko won the court case and the diaries handed back Robert Rosen's book Nowhere Man was now based on "accounts" from the stolen diaries. In other words this guy had lost the documentation to write his book. Both Rosen and Guiliano did the same thing with their "books" ... reconstructed the diaries. Both books were b.s. then and b.s. now. I hadn't heard Seaman retracted his book and why. It doesn't change my opinion of him.
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Post by Steve Marinucci on Feb 19, 2010 22:14:36 GMT -5
Interestingly, Seaman was at the Yoko concert last night in New York. Amazing. Has anybody heard what kind of show Yoko put on? Any reviews posted anywhere. And does anyone know what Fred Seaman's up to these days? Does he have a website or anything, or has he slunk off the stage? The Times reviewed her show. On the Examiner site, I had a two-part account and a YouTube vid of the Bette Midler song (which was amazing).
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Post by leadfootlarry on Mar 11, 2010 21:02:29 GMT -5
Plastic Ono Band Imagine Walls and bridges Double Fantasy Milk and Honey Rock and Roll Mind games Sometime in NYC
If Johns tracks from Milk and honey and DF were combined as a single album that could be as high as #2, no lower than 3rd.
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Post by Steve Marinucci on Mar 11, 2010 22:08:27 GMT -5
Plastic Ono Band Mind games Imagine Walls and bridges Double Fantasy Sometime in NYC Milk and Honey Rock and Roll Menlove Ave.
I actually think the live disc of "Sometime" pushes that one up a little. POB is a masterpiece. No doubt.
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Joseph McCabe
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Post by Joseph McCabe on Mar 11, 2010 23:44:17 GMT -5
Here's a slant that's may be worth considering - the difference between an ALBUM, and a mere collection of songs.
John only produced ONE real solo ALBUM- and that of course is the wonderful John Lennon/Plastic Ono Band.
For the rest of his career, he put out collections of songs; and some of these songs were very good.
(edited to correct spelling)
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Post by Steve Marinucci on Mar 11, 2010 23:52:46 GMT -5
Here's a slant that's may be worth considering - the difference between an ALBUM, and a mere collection of songs. John only produced ONE real solo ALBUM- and that of course is the wonderful John Lennon/Plastic Ono Band. For the rest of his career, he put out collections of songs; and some of these songs were very good. (edited to correct spelling)Certainly, the production sets POB apart. And it was also a product of what he was going through at the time. But "Imagine" is a cohesive as POB. There are ups and downs on the rest, but I wouldn't dismiss them each as a collection of songs. Just about all albums are that.
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Joseph McCabe
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Post by Joseph McCabe on Mar 11, 2010 23:57:48 GMT -5
---------------but I wouldn't dismiss them each as a collection of songs. Just about all albums are that. You are dead right there. Most LPs are just collections of songs, with little to knit the songs on them together. I think that's one of the things that got up the Beatles noses when Capitol chopped their albums up. The Beatles saw them as albums.
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Post by ursamajor on Mar 12, 2010 1:45:29 GMT -5
but if you're been out of action for five years and haven't produced your top-drawer work for 9 (which was John's position in 1980), I do think a straight-ahead Lennon album would have been the way to go. Sorry but that's an incorrect statement, John's last album of new material Walls and Bridges was a #1 album with a hit #1 single. So whether you like it or not, John was not coming back as a has-been. He'd just been out of the limelight for a few years.
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Post by acebackwords on Mar 12, 2010 13:06:43 GMT -5
but if you're been out of action for five years and haven't produced your top-drawer work for 9 (which was John's position in 1980), I do think a straight-ahead Lennon album would have been the way to go. Sorry but that's an incorrect statement, John's last album of new material Walls and Bridges was a #1 album with a hit #1 single. So whether you like it or not, John was not coming back as a has-been. He'd just been out of the limelight for a few years. I think Panther was referring to John's own opinion of "Walls and Bridges" which he often referred to as mediocre. "A crafted album by a semi-sick craftsman. It gives off an aura of misery." Personally, I like it.
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nine
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Post by nine on Mar 12, 2010 18:50:36 GMT -5
Sorry but that's an incorrect statement, John's last album of new material Walls and Bridges was a #1 album with a hit #1 single. So whether you like it or not, John was not coming back as a has-been. He'd just been out of the limelight for a few years. I think Panther was referring to John's own opinion of "Walls and Bridges" which he often referred to as mediocre. "A crafted album by a semi-sick craftsman. It gives off an aura of misery." Personally, I like it. He said that in 1980 and that was just John's spin. Double Fantasy wasn't inspired. He spent years on some of those songs with Woman being an exception. I too am fond of Walls & Bridges. It took the Lennon Anthology for me to appreciate it.
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Post by Joe Karlosi on Mar 13, 2010 7:19:36 GMT -5
He said that in 1980 and that was just John's spin. Double Fantasy wasn't inspired. He spent years on some of those songs with Woman being an exception. I too am fond of Walls & Bridges. It took the Lennon Anthology for me to appreciate it. I've always liked WALLS AND BRIDGES too, and long before there was any Lennon Anthology. But I think you're harsh in using the term "spin" with regard to John's looking back to the album in 1980. People's minds change, sometimes as they go through different periods they look back and have other thoughts as to what state they were in back when. And I do believe DOUBLE FANTASY was inspired. Even if some of the songs had been worked on during the late '70s, that doesn't mean he wasn't inspired to write them for some reason. I don't believe something has to be "immediately done and finished right there on the spot" in order to be inspired.
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Post by John S. Damm on Mar 13, 2010 13:10:36 GMT -5
I think Panther was referring to John's own opinion of "Walls and Bridges" which he often referred to as mediocre. "A crafted album by a semi-sick craftsman. It gives off an aura of misery." Personally, I like it. He said that in 1980 and that was just John's spin. Double Fantasy wasn't inspired. He spent years on some of those songs with Woman being an exception. I too am fond of Walls & Bridges. It took the Lennon Anthology for me to appreciate it. I am a fan of Walls And Bridges. The biggest problem with Walls And Bridges for me is John's production of it and that is dramatically shown by the superior stripped back versions of the songs as found on Menlove Avenue and Lennon Anthology. All of those damn horns on the album! In a 1974 or 1975 interview, John talks about liking Dylan's Blood On The Tracks(a contemporary of Walls And Bridges) except for the production of it; John said he would redo all of the backing tracks if he were producing Dylan. That was a ridiculous statement by John as Blood On The Tracks sounds powerful and vibrant to this very day while Walls And Bridges sounds all of 1974. I was disappointed in 1980 when John put down W & B as quoted by acebackwords above. W & B got me through the "house husband" years of 1975 to October 1980.
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Post by OldFred on Mar 13, 2010 14:16:11 GMT -5
'Walls and Bridges' has always been my favorite John Lennon album. It's the one that got me back into his music, especially with it's companion single 'Whatever Gets You Through The Night'. I felt that John got his musical muse back with 'W&B', though it is interesting to note that he didn't think much about it years later despite it bringing him back into the charts. I still wish that Yoko had issued the remastered CD version of the album with John's original cover design as is instead of the cover she put out which I thought was so wrong, as well as putting the wrong label design on the CD with mis-implied that she was involved in the original album when in fact she had nothing to do with the original production. Current 'Walls And Bridges' CD Japanese CD version with John Lennon's original cover design intact
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Post by John S. Damm on Mar 13, 2010 15:11:16 GMT -5
'Walls and Bridges' has always been my favorite John Lennon album. It's the one that got me back into his music, especially with it's companion single 'Whatever Gets You Through The Night'. I felt that John got his musical muse back with 'W&B', though it is interesting to note that he didn't think much about it years later despite it bringing him back into the charts. I still wish that Yoko had issued the remastered CD version of the album with John's original cover design as is instead of the cover she put out which I thought was so wrong, as well as putting the wrong label design on the CD with mis-implied that she was involved in the original album when in fact she had nothing to do with the original production. Current 'Walls And Bridges' CD Japanese CD version with John Lennon's original cover design intact I bought that Japanese Walls And Bridges and absolutely love having the original album artwork reproduced for a tiny compact disc. It is a cool thing to hold but not as cool as holding the original album version.
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