The Zoo 4: Stomachs/The Zoo 4 - Stomachs (Disk 2 of 2).adf/Edited_Articles/Apple2.ade

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1619Y00F05roman16Y00C1NMiles Apple `69 Interview
1601Nwith John & Yoko
1601NPart 2
1218Y00F04ruby12Y00C3Nby Miles
0819Y00F05prime08Y00C5N
0801NContinued from part 1
0801N
0801NMiles:  Do you think that your future recordings will be getting more and
0801Nmore instrumental?
0801N
0801NLennon:  I don't know.  A voice, like Yoko's modulation - I'm interested in
0801Nthat - we did that in Toronto too.  We did Blue Suede Shoes and ended up
0801Ndoing Cambridge 69, only with all of us blasting it.  Fantastic.  It's just
0801Npure sound.
0801N
0801N   The thing that got me about Heartbreak Hotel in the early days was I
0801Ncouldn't hear what he was saying.  It was just the experience of hearing it
0801Nand having my hair stand on end.  I don't care what the words are about and
0801Nif there are going to be words, they can either be rubbish, which is just
0801Nword play - or "I love and you love me and let's get together", you know?
0801NBecause I don't want to sing about suburbia.
0801N
0801NMiles:  So, the whole middle period is sort of over with The Beatles, the
0801Nreally complex...
0801N
0801NLennon:  ...I think that one note is as complex as anything, but I can't go
0801Non the rest of my life explaining that to music critics who want complex
0801Nharmonies, tonal cadences and all that crap.  I'm a primative so I'm not
0801Ninterested in that.  And it was quite flattering at the time to hear all that
0801Ncrap about The Beatles but I don't believe it, you know.  Paul himself said
0801Nin 1962 in his house, "We'll end up with a one-note pop song".  And I believe
0801Nit, you know.  I can groove to the sound of electricity in the house, or the
0801Nwater pipes.  A lot of people do groove to that, but if I lay it down on
0801Nrecord and say, "This is a John and Yoko record!" then we're going to get all
0801N"Who do you think you are?  This isn't Cage."  And they intellectualise about
0801Nwhat Cage and Stockhausen do, and say "You're not doing it because you're
0801Nonly playing a teaspoon" - that's crap.
0801N
0801NMiles:  Don't you think you have to explain it?
0801N
0801NLennon:  Why do I have to explain what a sound is?  I mean, we all sit by the
0801Nsea and listen to it, and nobody says, "This sea is good because it is
0801Nreminiscent of childhood experiences when we were at the seaside" or "it's
0801Nlike your mother's water" or anything like that.
0801N
0801NOno:  A genuine emotion, that's what we're aiming at.  People say we're
0801Nhowling and all that - I don't know...
0801N
0801NLennon:  My schoolboy magazine was called the Daily Howl.
0801N
0801NOno:  Really?
0801N
0801NLennon:  Yes, I invented it.
0801N
0801NOno:  Well, there you go.  It's sort of a spiritual howl, you know - when
0801Npeople come to an extreme emotion, genuine or whatever.  You can't explain it
0801Nin words.  Words are like a sort of ritual.
0801N
0801NLennon:  You grunt when you come, you know...
0801N
0801NMiles:  I accept the validity of the music, but I was just wondering how you
0801Nbring along the audience - The Beatles have got five or six million teenybop
0801Nfans.
0801N
0801NLennon:  Yes... I don't know what Revolution No 9 had on the teenybopper fans
0801Nbut most of them didn't dig it, so what am I supposed to do?  I probably
0801Nwon't impose it on a Beatles album.  Life With The Lions sold 60,000 in the
0801NStates.  I'm very exicited, it's nothing on Beatles sales but it's a lot of
0801Nalbums for that music.  Maybe some of them were Beatlemaniacs who thought
0801Nthey were going to get something else, but I think they might have guessed by
0801Nnow after Two Virgins.  I can't keep framming it in Beatle music to sort of
0801Nbring along the people.  How many Revolution No 9s am I going to get on an
0801Nalbum, you know?
0801N
0801NMiles:  It's probably the most important direction that The Beatles have
0801Ngone, this new approach of getting down to the more simple areas.
0801N
0801NLennon:  You know, I think it is too...
0801N
0801NMiles:  I knew Yoko's work about five or six years ago.  I was hoping the two
0801Nwould combine - and they combine but not quite that obviously.
0801N
0801NLennon:  You would have dug the Toronto show then.  With a rock 'n' roll
0801Naudience we didn't know how the reaction would be.  But something magical
0801Nhappened that night.  The fact that it affected Eric [Clapton] and Klaus
0801N[Voorman] and Alan [White] - they really got turned on by that experience.
0801NThe whole thing really was a big, big turn on.  And it was like a new
0801Ndirection.  We didn't do anything that Yoko hadn't done with Ornette Coleman
0801Nat the Albert Hall.  Conceptually you think you're going to howl and the
0801Nmusicians are going to play, but the difference between Ornette Coleman
0801Nintellectualising that jazz - which is just to me intellectual literary crap
0801Ncoming out of a trumpet, or whatever he plays - and just playing rock 'n'
0801Nroll or just playing the amplifier is tremendous.
0801N
0801NOno:  I was intuitive, and os when I followed even, say, Ornette, you can see
0801Nimmediately that Ornette's job is highly intellectualised, sophisticated
0801Nstuff.  And I'm howling, and the combination is not a combination really,
0801Nit's not merging.  But then I met John who was having the same kind of
0801Nproblem.  He was always having to cut himself down for The Beatles.  And
0801Nplaying old stuff by himself at home.  And I've heard some of that freaked-
0801Nout stuff. This time it was really very easy, because both of us are basicaly
0801Nintuitive people and we are noraml oddballs.  And you know what they say,
0801Nwhen two people dream it's a reality... We were like in a dream state and
0801Nthen he came and we started to make love.
0801N
0801NLennon:  I've never heard any avant garde stuff that I'd wanna bring in.  I'd
0801Nsooner have 10 Eric Claptons.  I'd sooner get a Salvation Army Band than a
0801Nlot of avant garde people to squeak and ply all that intellectual crap.  I
0801Nthink anything'svalid, but if Yoko says, "This is a particular performer that
0801NI recommend and we should perform with him", then I'd do it, but anything
0801NI've heard has always left me cold.  I haven't heard anything better than a
0801Ncar engine yet.
0801N
0801NOther journalist:  You say that you don't want to intellectualise - most
0801Npeople feel that you have started to do that by getting into bags and sitting
0801Nin bed, and they just don't understand.
0801N
0801NLennon:  But I haven't started to intellectualise at all - all I do is get
0801Ninto a bag you know, literally.
0801N
0801NOther jouranlist:  And that was it, forget it?
0801N
0801NLennon:  Yes that is the end of the experience.
0801N
0801NOno:  I mean, what's so intellectual about getting into a bag?
0801N
0801NLennon:  If I painted myself blue what could we do about it?  If there's a
0801Nconcert on and for my party turn I want to be painted blue there's nothing to
0801Nintellectualise about.  60,000 kids in America are having no trouble with
0801NLife With The Lions.  There's always going to be people complaining because
0801Nwe left the Cavern and went to work in Manchester, you know?  That's all it
0801Nis, really: how dare I leave the Cavern and jump into a bag in the Albert
0801NHall?  But I can't wait around for these people to decide they'd like me to
0801Ngo tap dancing.
0801N
0801N   I'm just moving out, or pressing the outer limits of whatever's going on,
0801Nand people say, "I don't understand why you're leaving your cosy rut and
0801Ndoing something else.  Why don't you stay where we can recognise you?"
0801NThere's no time to wait for people to understand why I've grown a beard or
0801Nwhy I've shaved it off, or why I want to be naked or why I want to stand on
0801Nmy head.  If people waited for people to understand everything they did,
0801Nnothing would ever be done.
0801N
0801N   I'm not a politician so I don't rely on public opinion as to how I run my
0801Nlife - I refuse to do that.  I mean, I don't even consider it.  For a
0801Npolitician to go into a white bag in the Albert Hall he'd have to consider
0801Nthe effects it would have on his constituents, but I'm not a politician and I
0801Ndon't owe anyhting other than I create something, whatever it is, and they
0801Naccept it or reject it on its own merits and not on any pre-conceived
0801Nideas...
0801N
0801N   Nothing pressurised me into going to Toronto and performing with Yoko.
0801NJust felt like it.  Somebody rang up and I said "OK" and we were invited to
0801Nthe Albert Hall and we thought, What shall we do?  Let's do the bag.  I'd
0801Nnever done it before and it was going to be that kind of evening, with Jack
0801NMoore painting lines or whatever, so we did something to suit the occasion.
0801N
0801NOther journalist:  What was it like inside?
0801N
0801NLennon:  It was fine.  We just wondered what it was like outside.  What they
0801Nwere thinking while we were in there; wondering if anyone understood it or
0801Ndidn't understand it or what they thought we were doing.  We could hear a lot
0801Nof chanting and noises going on and then we saw the video of it later and saw
0801Nit all from the outside - on the simplest level it's just like a practical
0801Njoke.
0801N
0801NMiles:  With the campaigns for peace you are definitely trying to put across
0801Na point.
0801N
0801NLennon:  We just thought, What have we got in common?  Mainly it's just to
0801Ncahnge the world a little bit.  So how to do it?  And we went through
0801Ncreating the idea of being in bed 'til we came up with the conclusion -
0801Nthat's the best way for us two to do it.
0801N
0801NThe interview continues...  Maybe we'll publish more at a later date
*!EOF