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Sgt Pepper – I’d Love to Turn You On.

In an article originally written for the London Beatles Fanclub Magazine, Esther Shafer writes about the Beatles Classic album, which they began recording 50 years ago….

An Appreciation of a Classic Album

Believe it or not, I got into a conversation with three Beatle fans who told me they don’t think Sgt. Pepper is a very good album. Now, this is as incomprehensible to me as someone saying they don’t like ice cream, chocolate, or blue skies. Totally blown away by this revelation, I was unable to come up with much more than ‘Why not’. got two basic reasons:

1) The songs on Sgt.Pepper aren’t as good as those on Revolver.

2) Being second generation fans, they were born too late to appreciate the mood of the times, and Sgt. Pepper is to them very much tied to the 60′ s.

I wentaway to collect my thoughts. Okay, so maybe there is such a thing as a generation gap. My mind drifted back to my youth, the summer of 67 when I was sixteen and Sgt. Pepper became permanently imprinted on my consciousness. If they don’t get the meaning of Sgt. Pepper, then I will try to help them.

So, for all of you poor lost souls, I am prescribing three exercises.

Exercise one Make believe it’s your first time.

Make absolutely sure you will be totally uninterrupted for 39 minutes and 52 seconds. Unplug the telephone, lock yourself in a room if you have to. Arrange your body in your best listening to albums position. It might be lying on your bed, on your couch, on the floor. Just make sure you have no limits to how loud you can play the music. If you have nervous parents, roommates, or neighbors, headphones are recommended. A CD would prevent you from having to turn the record over, but purists will want to listen to the album (a slightly scratched model from the 60’s is best with pops and clicks from well listened to tracks). Anyway, you will need an actual album for exercise three.

Choose a time of day when you are at your best. If it’s a nice day, open the windows, lie in a patch of sunlight, burn some incense, or surround yourself with flowers. Clear your mind of all thoughts, close your eyes, and just listen. Pay special attention to the way the instruments, sound effects and background vocals blend together. Relax and breathe deeply.

When you are finished listening to the entire album, stand up, stretch, and go outside. You should be in a somewhat sobered mood, after listening to A Day in the Life. Experience your surroundings, whatever they may be. You’re taking the time for a number of things that weren’t important yesterday. Really look at a flower or a tree. Look at the clouds in the sky. Watch a bird, or a squirrel. Even if your front door leads out to a busy street, that’s okay too. Listen to the traffic sounds, other peoples’ voices. Watch the people walking here and there. Imagine all the human dramas that are being played out around you. Watch an old couple, two young people flirting. Stay out as long as the mood maintains. You are finished. Good work.

Exercise Two Awakening the Unconscious

For the next few days, play the album as background music. Pretend it’s 1967. Anywhere you went, you could hear the sounds wafting out of windows, on car radios. Your friends are playing it on their stereo. They turn the record over and over, all day long. Your mind will tune out the parts you don’t really care for. Then all of a sudden, while doing something totally irrelevant, you will find yourself humming a tune, or remembering a guitar riff. Then you know you have accomplished your goal. Bonus points for remembering how one song blends into another. You’ve really made it when you can imagine the order of the songs without thinking too long about it.

Exercise Three – Traveling Through Space and Time.

It’s 1967. For months you have heard about the revolutionary design of the Beatles’ new album cover. Start with the front. Your eyes glance from one figure to another. You won’t be able to identify them all. Notice the lower half of the cover. You keep noticing more and more detail. Some of it looks very strange to you. Now open the cover. The Beatles look very different to you now. Their eyes look rounder, and you can see far, far into them. With their moustaches, they don’t look quite the same.

Now your eyes rest on their costumes. The shiny material, the decorations. Look how much they have changed since 1963. Thrown off the old dark suits, the same uniform. Now they are all wearing different colors. Let your mind wander back to your childhood. What did you want to be when you grew up? A policeman with shiny brass buttons? A fireman in a big red hat? A meter maid? An Indian princess? Superman? How would you really like to present yourself to the world? Express the real you. Braid flowers in your hair. Grow your hair as long as you want. Embroider flowers and sew patches on your jeans. Wear slogans on your shirts. Throw away those uniforms of conformity and be yourself. The Beatles say it’s ok.

Now look at the back cover. Let your eyes wander over the lyrics. Think of the range of human emotion that is played out on this album. Things are getting better all the time – hard times are over. The heady excitement of flirtation Lovely Rita, Meter Maid. The kind of love our gradparents have – no passion, just contentment – When I’m 64. A bit lacking in self–confidence? – I Get by with Little Help From my Friends. The heartbreak of broken relationships – She’s Leaving Home. The mania that comes from living in a rat race – Good Morning, Good Morning – and then it all comes crashing down on your head with the realization that it’s all futile because it’ll all end anyway – A Day in the Life.

I could get really heavy now, and tell you how the album is a microcosm of life – or remind you that this was the first “theme” album, and therefore it can’t possibly be compared to Revolver. The songs on Revolver are precious and rare jewels – each stands alone and shines in it’s own perfection. But Sgt. Pepper is rather like a novel – you can’t just pick up the book, open it randomly, and read one chapter, expecting to grasp the story in it’s entirety. But by this time, you should be making profound statements and having mind-blowing revelations of your own. And if not – well, I’d love to turn you on . . .

Esther Shafer

‘I Sang on Hey Jude’!

One of the biggest kicks I get out of doing my London Beatles Walks is meeting people with Beatles connections and hearing their stories. Some highlights include the day some of the original Apple Scruffs turned up. Amongst them was Gayleen Pease, who one day was outside Abbey Road Studios when Paul McCartney came out and said, “Can any of you sing?” Gayleen and her friend Lizzie said yes. Then Paul said, “Would you like to come inside and sing with us?” The Beatles were recording Across The Universe and wanted some female singers to do backing vocals. It was late at night and there were no professionals around. Therefore they asked the fans instead. It was great hearing this story from someone who was actually there.

Another such occasion happened recently. A guy from Sweden on the tour and he told me he sang on the video of Hey Jude in 1968! He kindly sent me an account of his wonderful day, plus the invite he received from Apple. Here is his story.

I was 19 years old travelling in Europe by car, at this time I was staying in my car at a parking place located at Trafalgar Square.

I was invited by a girl from Apple, whom I met on Oxford Street, to perform Hey Jude together with the Beatles on 4th September 1968. Of course my answer was YES!

I had to sign an agreement saying that I’m not going to be paid (See picture)

ebookletterheyjude

 We were a group of ordinary people asked to perform the last part of Hey Jude standing besides The Beatles for the BBC. David Frost was the host. There was a symphony orchestra playing too.

 They recorded the song about five six times for the TV show and in the meantime they sang a lot of classical songs like Tea for Two, Tom Dooley etc. This went on from about 6pm to a couple of hours after midnight. They seemed to have very fun together and played and sang and joked a lot together. They talked to us now and then. Paul was gave a lot of hugs to young girls and George went around talking to people, as did Ringo. John was more quiet and very tight together with Yoko, except when he was performing Hey Jude.

 Earlier they performed Revolution for TV without any audience, but they were watching and discussed the result of the video when we were there. I was standing close to John, watching the video for Revolution. He made many positive comments to us. (I still have my clothes, which have been touched by John. Crazy, but a big thing for me).  George was smoking a lot (Kent).  George gave his phone number to a guy from US who asked for an interview for his schoolwork. George was saying he was very occupied with an album at the moment but told him to call later.

I also met George Martin years later and he have signed the agreement.

Bengt Ahlstrom

Bengt would like to get in touch with any other people that were there that day. Please email bengt.ahlstrom@telia.com

Alistair Taylor – The Beatles ‘Mr Fixit’

Alistair Taylor was Brian Epstein’s personal assistant at NEMS. He accompanied Brian to the Cavern Club when he met the Beatles for the first time. He then became an integral part of ‘NEMS Enterprises’ and after Brian’s death, General Manager of Apple. His time with the Beatles was only ended when he became one of the victims of Allen Klein. In this interview from 1995, Richard Porter talked to the Beatles ‘Mr Fixit’ at the Heroes of Alma pub, just around he corner from Abbey Road Studios, where the Beatles used to drink after recording sessions. Before the interview, Alistair had gone to Abbey Road to be reunited with George Martin for the first time in many years. 

What do you remember of your first meeting with the Beatles?

It was on November 9th 1961. He had imported the record by Tony Sheridan and the Beat Brothers (really the Beatles) and it had sold like crazy. One day, Brian came in and said ‘Do you remember that record we sold by the Beatles?’ I said ‘Of Course’ and he said, ‘Well, they are playing at the Cavern Club today, at lunchtime, let’s go to lunch and call at the Cavern’.

So we went to the Cavern. Ghastly place. We went in suits, like I’m wearing today, and there were these four ghastly youths up on stage, wearing black leather jeans, black jackets, smoking and drinking, and so loud. Brian and I sat at the back, we only heard 4 or 5 numbers, and they were so charismatic and so exciting. What really struck us was the final number, which Paul announced that they had written. It was ‘Hello Little Girl’. It was a damn good number.

We went to lunch, and Brian asked my what I thought of them, and I said, ‘I thought they were bloody awful but absolutely incredible.’ We talked a bit more, and Brian said ‘I’m thinking of managing them’. I said ‘My god, you’re kidding!’ He said, If I do manage them, would you come in with me? Who do you work for, me or NEMS?’ I said, ‘I work for you’. So he said, ‘If you come with me, I’ll give you two and a half per cent of the Beatles’ earnings’. I replied, ‘I couldn’t possibly accept that Brian’. I had no money to put up and I knew it would be very expensive. I said all I wanted was a better salary and that’s all.

That was my intro into the boys.

In the early days Brian wanted to clean up the Beatles act and put them in suits. Do you remember any friction about this?

Not at all – although it has often been said. I was surprised when John Lennon said about this in his ‘Rolling Stone’ interview. However, at that point, if Brian had said jump off the Liver Building into a bucket of custard, and you will have a hit record, they would have done it. It’s all very well resenting it in hindsight, but at the time they were more than happy.

You went to work for Pye  for about a year and came back to your first taste of ‘Beatlemania’. What do remember about  that day?

I had been back with Brian for about a week, and Brian said, ‘I’ve just spoken to the boys, and they’re thrilled you’re back with us. They’re playing at the East Ham Granada on Saturday night and will you go along because they’d love to see you again.

At the end of the show, they asked me back with them. They had a flat in Green Street at the time. I didn’t know what was going on, and when they closed with ‘Twist and Shout’ they had the limo by the stage door. I got in the front of the car, and Ringo got his foot stuck in the door. There were about 3,000 people lining the route and I could see the line of policeman breaking. Finally, we got Ringo in the car and it shot off and I saw the line had broken, and wondered what I’d let myself into. It was quite a terrifying experience and we hurtled into Green Street with a police car in front, and another behind. I got used to it very quickly though.

Tell us how you one deputised for John Lennon at an awards ceremony. 

Brian had forgotten about it and it was about 10 o’clock in the morning of the ceremony. I rang John, but he refused to go, so then I rang Paul. He was living with the Asher’s and Mrs Asher answered the phone and said they’d been out late the night before, and she could not disturb him. So I rang back a while later and she said she wouldn’t wake Paul. I said it was urgent and I’d take the blame if Paul made a fuss. Paul was the PR man, and I explained the situation, and he asked what time we were due, and I said 5 minutes ago. He told me to pick him up about 20 minutes later. When I arrived he was waiting and looking totally immaculate, shaved, great suit etc. We hurtles down to the Savoy Hotel and took him to the door and said I would arrange to pick him up afterwards. However, he said I was to come in with him, and if I didn’t, he wouldn’t go in either. So I agreed. Everyone in pop was there. There were three empty seats at the top table. I saw Dick James at another table and said I would sit there. But Paul insisted I sit at the top table. I walked up and sat down and everyone was wondering who I was. David Frost gave us a life home in his Merc.

How did you get the nickname ‘Mr Fixit’?

The boys by now could not walk down the street like you and I can. So I became the person who went to get them a packet of fags or whatever. I got the reputation for doing the impossible, things that the Beatles or Brian thought could not be done.

Was Apple really set up for tax reasons?

Brian Epstein didn’t want to know about Apple. The Beatles had vast bank accounts and were advised to reduce the tax burden. We had to submit plans of how to invest this money so we could save three of four shillings in the pound – which of course with their money was a substantial amount. So we set up what was laughingly called ‘the executive board’ to plan how to invest this money. I was on the board along with Neil Aspinall and Pete Shotton, and we just kicked around plans and ideas. The first real idea was to open a chain of greetings card shops. They are now on every street corner, but they were unheard of in those days. So we finally thought this was a good idea and we put it to the Beatles. They just sat there for a moment, and then John said, ‘What a f****g boring idea. We had been weeks on this so one of us asked them to come up with something better. So that’s how ‘Apple’ as it became, evolved from that meeting. Really the whole thing was crazy, but it was their money.

How did Brian Epstein die?

Accidental overdose. He was on two particular tablets, and one was building up in his stomach and one passing through, and that particular night, he took two tablets instead of one.The number of times I’ve had to say to people, no, he did not commit suicide. Apart from me, the only people that we there were the doctor and Joanne Newfield, Brian’s PA. I was with the doctor when we smashed the door down. On the bed was a plate of chocolate digestive biscuits and by the side of the bed was a half empty bottle of bitter lemon. There was no booze around and one the side table were about six of seven bottles of tablets, all had plenty of pills in them and had their lids screwed on. My argument is that if you are going to commit suicide, you don’t take a few pills and take the trouble to screw the lids back on. I’ve read stories ’til I’m blue in the face about how a suicide note was found. I’m the guy that was in the room, and there wasn’t one.

How did the ‘This Man has Talent’ ad come about?

Paul stopped by my flat in Montagu Place, which was an ‘Apple’ flat. He said, ‘I’ve got this great idea. We are going to put an ad in NME to get some tapes of music into Apple’. Finally we hit on this idea of a one man band. We wanted a straight guy in a bowler hat. Paul looked at me and said ‘Well, we’ve got a straight guy, do you have a bowler hat?’ It just so happened I did. We went down to Soho to hire a one man band and did the photo session. I was miming and it wasn’t working, so Paul said, ‘Sing a Beatles song’ So I tried that and he said ‘Forget that!’ – it was a disaster area. So in the end, that picture is of me singing ‘When Irish Eyes are Smiling’ – badly.

Was ‘Apple’ really as chaotic as people said it was – was it ‘The Longest Cocktail Party?

Yes, that was a wonderful book, incredible. I had nothing to do with music, and certainly not the Beatles, for years, and I went to America, and someone showed the book to me. I just flipped through it and read bits, and just laughed and laughed. It was brilliant.

Tell us about your adventures at High Park, Paul’s farm.

No-one in the office knew that Paul had bought the farm. Then one day he came in and asked if I would go up for the weekend. I It had a clapped out old farmhouse that Paul wanted to knock down and wanted me to find a suitable spot to build a new one. So I went up and plodded around and realised the Scots aren’t stupid because the current location was the only place to build a farmhouse. It was windy even on a calm day. I took some photos and came back and told Paul it was the only place. Paul asked what it was like and after I showed him the photos he thought it was great and said let’s go up. So myself, Jane and Paul flew up. He said he wanted it to be spartan and asked me to organise some second hand furniture. We then built furniture ourselves, and found some potato boxes and asked me to go into town and buy some nails and things and we built a settee and some bedside cabinets.

We flew Martha up, and she was as good as gold. A car met us at the airport and we were driving along. Martha is an old English Sheep Dog, but had lived in London, never been in the country, and never seen a sheep. We turned up the lane to the farm and into a field of sheep, and Martha went spare. We had the window half open and she had her head half way out the window.

What is your abiding memory of Apple?

I was trying to run a sensible business and in a way I shpt myself in the foot again, after turning down the 2.5%. I was getting exasperated as money was flowing out like there was no tomorrow. I managed to get the four lads together and said we need a top business man here. So off they went and three of them got Allen Klein and I was sacked – end of Beatle career. For about 15 years after I was sacked I didn’t want to know about pop music and sold more of my Beatles records.

I believe you had a reunion with Paul McCartney recently?

I went to the ‘Let it Be Liverpool’ concert, which was a bit sensational. To hear 25,000 people on the banks of the Mersey singing ‘Hey Jude’ and ‘Give Peace a Chance’ was an unbelievable memory.

I know Geoff Baker, Paul’s publicist, and he said I should come back and meet him. However, it was too late to organise passes and all the business and so I just went up to the gate and asked for Geoff Baker. The girl came back and said here are two tickets. I asked whether they would get me backstage and she said they were just for the concert. I told her that Geoff Baker was going to organise it for me to meet Paul. I had to explain who I was, and she went off again. There were other people trying to do the same and she came back and out these badges on us. I had a gold one and they got red ones. There were two marquees, one saying ‘press and VIPs and one for family. I just followed the others to the press tent and the girl said ‘No, Mr, Taylor, you go to the other one.’ By now time was running out and there was no sign of Paul but I saw Linda and followed her and there was Paul surrounded by a big circle of people with chains on, like Mayors. I stood at the back and I saw Paul’s eyes flick around, he’s always done that, and he suddenly say me and everybody stopped. I didn’t know what to expect and just walked forward and put out my hand and said ‘Hi fella’. He said ‘Come here’ and there were big hugs and commented on our grey hair, who had the most. It was nice. He said to one of his aides to get hold of my address, but I haven’t heard from him from that day. It is very sad. But it was nice while it lasted.

Alistair Taylor reunited with Paul McCartney in Liverpool
Alistair Taylor reunited with Paul McCartney in Liverpool

 

Note from Richard Porter: I got to know Alistair very well during the 80s and 90s. I even guided some Beatles tours of London with him. One day we went to 24 Chapel Street, where Brian Epstein lived, and died. It was the first time Alistair had been back since that sad day in August 1967, and Alistair was very moved. 

Alistair passed away in 2004, and is much missed by all Beatles fans. 

Blogger Richard Porter, guiding a Beatles tour of London with Alistair Taylor
Blogger Richard Porter, guiding a Beatles tour of London with Alistair Taylor

 

 

 

 

 

 

 

 

 

Kenny Everett and the Beatles – an Update

I’ve just found out that BBC Radio 2 are broadcasting a special show on Kenny Everett’s relationship with the Beatles. I wonder if they are going to include any of the interview I did with Kenny in 1992, as I believe I am the only person who interviewed him just about the Fabs. You can read the interview below at http://blog.beatlesinlondon.com/an-interview-with-kenny-everett/

The show, presented by Paul Gambaccini, will be broadcast on BBC Radio 2 on the 21st December at 10pm. 

Me With Paul McCartney

Over the years as a Beatles fan, I have had the pleasure of meeting Paul McCartney on many occasions. Here are a few pics of me with Paul.

Me with Paul McCartney 1982
Me with Paul McCartney 1982

This pic was taken in May 1982, outside AIR Studios in Oxford Street, London. I had been a Beatles fan for years, but pretty much on my own. After the tragic murder of John Lennon, I wanted to meet other fans, and put an ad in Beatles Monthly for penpals. One guy I wrote to, John Challis, told me he had met Paul McCartney many times in Oxford Street. I didn’t believe him at first, as I had been past the building he’d told me about, and didn’t even know there was a studio there. However, he persuaded me to come up to Oxford Street at about 6pm (the time he said Paul came out the studio) and I would meet him. I thought there was nothing to lose. Sure enough, about 10 minutes after they arrived, Paul McCartney was standing right in front of me!! That night I got a Paul McCartney and Wings book signed by Paul – as someone had told me (wrongly) that Paul didn’t sign Beatles items.

I went up to AIR Studios many times after that, and became friends with the regular fans who would hang out there. I saw Paul many times, and finally got the above picture taken with him. I later went back and got it signed. When Paul saw it, he said, “Oh, aren’t we a lovely couple”!

Me with Paul McCartney outside Abbey Road Studios 1997.
Me with Paul McCartney outside Abbey Road Studios 1997.

This pic was taken in 1997 outside Abbey Road Studios. I was on my Beatles walking tour, standing by the Abbey Road crossing, talking about the Paul is dead rumour. I saw Paul’s car coming up the road, proving beyond doubt he was still alive!

He was filming an interview with VH1 that day. He was in a very good, but reflective mood, and was please to pose with me again.

I have met him many times since. Another memorable occasion was at the memorial service for Victor Spinetti at St Paul’s Church Covent Garden. I hadn’t seen Paul up close for around 10 years. After the service (which was very moving) Paul came up to me, shook my hand, and said ‘Hi Richard, how are you?’ Not only did he recognise me, he remembered my name too! Classy bloke :>)

Tea with the Rutles!

In 1995 I had the great pleasure of interviewing Nasty, Stig and Barry of the Rutles, otherwise known as Neil Innes, Rikki Fataar and John Halsey. Their new album ‘Archeology’ had just come out and I talked to them at the Virgin Records headquarters in London. Here is the article I wrote from that interview – as it first appeared in Off the Beatle Track in 1996.

The Rutles – Mythology

For those who weren’t around in those heady days of the 60s, here is a brief history of the Rutles – as told by Gilda Radner in ‘All You Need is Cash’

‘The Rutles were an English pop quartet of the 60s who set the foot of the world a tapping with their catchy melodies, wacky Liverpool humour and zany off the wall antics, epitomised by their films ‘A Hard Day’s Rut’ and ‘Ouch!’ Dirk and Nasty, the acknowledged leaders of the group were perfectly complemented by Stig, the quiet one, and Barry, the noisy one, to form a heart warming, cheeky, loveable, talented, non-Jewish group who gladdened the hearts of the world. In 1962 they played the Cavern, after that they spent several months in Hamburg. Then in 1962 they released their first single, ‘Twist and Rut”.

The Rutles went on to be a legend in their own lunchtime but things started badly when they started their own business, Rutle Corps. The idea was for people to help themselves. Unfortunately people helped themselves to Rutle Corps’ money for years. In the end things got so bad within the group that Dirk and Nasty got married. Rutle Corps started losing more money than the British Government. At the last meeting of Rutle Corps 134 legal people and accountants filed into a small 8 by 10 room. At the end only 87 came out alive. Savile Row had taken its toll on the best merchant banking brains of a generation. Luckily that’s not too serious. However during the legal wrangling and public bickering ‘Let it Rot’ was released as a film, record and a lawsuit. In December 1970 Dirk sued Stig and Nasty; Barry sued Dirk; Nasty sued Stig and Barry; and Stig sued himself accidentally. It was the end of an era. However, amid squabbles and lawsuits, the band were recording a new album. The project was abandoned and the master tapes were buried. Literally.

As was widely reported at the time, all of the tapes were placed in a time capsule and buried in a secret location. Announcing that action, a spokesman for The Rutles stated that this was “to thwart bootleggers. And tax authorities.” Furthermore, the capsule would “stay buried for a thousand years.” He added that the album wouldn’t be released unless it was “discovered by archaeologists or whoever digs these things up.” This led to Rutles fans dubbing the interred recordings the ‘Archaeology’ tapes.

Asked why the legendary tapes have been dug up by The Rutles themselves, a mere 26 years later, Rutles member Ron Nasty stated simply, “Things change.” All further queries have been referred to the band’s accountants.

The new Archaeology album comes at a time when interest in The Rutles is at an all-time high. Many of today’s hottest bands, including Oasis, Pulp, Blur, Smashing Pumpkins, Gin Blossoms, and Soul Asylum, cite The Rutles as a major influence.

Not addressed in The Rutles announcement is whether the band will reunite to record any new tracks or perform live. Apart from their famous rooftop concert, seen in the ‘All You Need Is Cash ‘ documentary, the band has not given a public performance since 1966.

The Rutles Reunion – the Real Story

In September 1994 there was an official celebration of Monty Python’s 25th anniversary held in Los Angeles. It took the shape of a film and TV festival – and included the presentation of various spin-off projects – including the Rutles film.

As an adjunct to the festival Neil Innes performed a show of Rutles music – in character of Ron Nasty. Teaming up with local Beatles Tribute band, The MopTops, the concert was jokingly billed as a performance by Ron Nasty and the New Rutles. The show, held at the legendary Troubadour club in Los Angeles, was an immediate sell out, and a second show was added – which also sold out.

Critical and public acclaim was glowing – and was a major factor in inspiring this first-ever reunion of the original performing Rutles. (the Los Angeles Times Review of the show described the concert as ‘Fabulous! Beatles music from a parallel universe! Among the stars in attendance at the shows were new Beatles producer Jeff Lynne, Julian Lennon, Seal and Spinal Tap member Harry Shearer. Long time Neil Innes friend and Rutles fan George Harrison was unable to attend the shows – but sent a special greeting to be read to the audiences – and insisted on Innes giving him a first hand account of the shows when he returned to England.

In Rutles mythology, the ‘Archaeology’ album consists of disinterred tapes of the group’s abandoned last album – which had been buried in a time capsule. In reality the album was freshly created in the spring and summer of 1996. Neil Innes reassembled all of the original team responsible for creating the original Rutles music.

Multi-instrumentalist Ricky Fataar, who in recent years has been the studio and touring drummer for many top musicians, including Bonnie Raitt and Boz Scaggs, returned to reprise his Stig O’Hara role. On the new album, he contributes lead and backing vocals, guitars and drums. Drummer John Halsey returned to perform as the Rutles own Barry Wom -and contributes both drumming and his distinctive Barry Wom vocals. Neil Innes, who again wrote all of the words and music of the 16 new Rutles songs, contributes lead and backing vocals, guitars and keyboards.

Interestingly the ‘Archaeology’ album has a genuine parallel with The Beatles ‘Anthology’ albums it affectionately lampoons. Original ‘4th Rutle’ – guitarist/singer Ollie Halsall, who was the key fourth musician in the recording of the original album, passed away tragically at the age of 43 – in 1992. In preparing material for this new album, Neil Innes uncovered master tapes of the rehearsal sessions he had organised in 1977 to prepare the Rutles for their album. Buried within these tapes he discovered two complete songs which had been fully rehearsed and performed – but which were not subsequently recorded for the album. He also discovered a backing track to a third song – which had not been completed.

Since all the tracks were very in line with the new material he was writing and assembling for the new album – and, with added poignancy, featured the original Rutles line-up – he decided to incorporate the tracks in the new album. The two completed songs – We’ve arrived! (And to Prove it We’re Here) and Now She’s Left You were left intact – including humorous false starts – and were simply restored. The uncompleted backing track was used as the basis for a new song entitled Unfinished Words.

The Archeology LP

The ‘Archaeology’ is a very enjoyable album. Neil Innes’ personal style is a lot more evident on the Archaeology than on the original LP – especially in the lyrics. In fact Neil wrote a number of the songs long before the second Rutles LP was thought of – he even sung a few (i.e. Eine Kleine Middle Klasse Music) on his 1980s TV show ‘Innes Book of Records’. However in those days the songs didn’t have a Beatlesque backing. The LP opens with perhaps the most obvious Beatles ‘copy’ – Major Happy, which is based on Sgt Pepper. It even starts with an orchestra warming up. Major Happy segues into the Barry Wom sang tune called Rendezvous. Not surprisingly it is based on With a Little Help from my Friends but with a few piano bits similar to Good Day Sunshine. The harmonies on Rendezvous are spot on – certainly a feature of the entire album. The call and response section here is funny. When the backing singers start answering Barry sings ‘who invited you to sing along?’ and when they sing ‘We were only trying to help’ Barry sings ‘I don’t want any help!’

The next song Questionnaire strongly resembles I am the Walrus musically – but here is where the similarities end – the song is very Innesesque song -sung from the point of view of a questionnaire.

We’ve Arrived (and to Prove it We’re Here) was one of the outakes from the first LP. It’s based around Back in the USSR (complete with airplane noise). It’s obvious this version wasn’t meant to be the final take as there is a false start and the ‘ooos’ are incredibly out of tune. However if anything the fun the band are having more than makes up for this. The atmosphere on the track is very similar to And Your Bird Can Sing on ‘Anthology 2’.

Lonely Phobia is an acoustic based track and one of my favourite tracks on the ‘Archaeology’. The musical style isn’t so easy to pin down to one Beatles song as others – in fact it sounds almost Wilburyish. The backing tracks for Unfinished Works were recorded by the original Rutles and Neil Innes built this new song around them. It has nonsense lyrics and mentions legendary unreleased Beatles songs like Colliding Circles and Pink Litmus Paper Shirt..Incidently, these song titles were made up by Martin Lewis, a Beatles afficionado who is also great friends with the Rutles.

Easy Listening is a classic Ringo/Barry Wom song -a bit like Act Naturally. It’s an incredibly catchy song and you’ll be singing the chorus for days after hearing it.

Now She’s Left You was the second complete song from the original sessions -it’s an early period Beatles pastiche and very catchy. Knicker Elastic King has a classic Neil Innes lyric with a backing similar to Penny Lane, and I Love You is early period Beatles. Eine Kleine Middle Klasse Music is an old Innes song which he sang at the Liverpool Beatles Convention a few years ago – as is Joe Public. Here Eine Kleine sounds like Come Together and Joe Public like Tomorrow Never Knows. Shangri-La is the first single from the LP and an obvious one at that. An incredibly catchy song with a backing that is almost a condensed version of the whole of the ‘Sgt Pepper’ LP. The long singalong fadeout at the end is a cross between Hey Jude and All You Need is Love (or should that be Love Life. This song deserves to be a hit but whether it will get the necessary airplay remains to be seen.

The last two tracks I Don’t Know Why and Back in 64 are a bit of an anti-climax but overall the LP is great and highly recommended. The Pre-Fab Four are back with a vengeance.

Tea With the Rutles

It was a great honour to meet the ‘prefab three’ over tea and biscuits at Virgin Records recently. Stig, Nasty and Barry (alias Neil Innes, John Halsey and Rikki Faatar) chatted about the old days of the Rutles and the new ‘Archeaology’ LP. It was a very amusing half hour with the three guys and with them regularly going in and out of character it was like interviewing six people.

I first asked the Rutles how they got together. Nasty said ‘according to Eric Idle we bumped into each other at a quayside and discussed haircuts’
‘We still do’ added Barry, ‘especially from my salon days’
‘We spend too much time talking about hair which is why we’ve taken so long to put out another album’ said Nasty.
I asked them whether they had something to say to Brian Thigh, the guy that turned down the Rutles.
‘Yeh, thanks for the pizza – keep the change’ said Nasty.
‘Don’t forget to set your runner bean flowers in cold weather’ said Barry.

I then asked the Rutles about what they’d been doing since the Rutles. Barry said ‘I had a hair dressing Empire, the Hackney Empire. However after a berserk lady customer run amok with hot curling tongs and I suffered a terrible injury I sold the empire.

Stig said ‘I’ve been with lots of airlines since ‘Air India’ When asked whether he was still with Arthur Sultan, the Surrey Mystic, Barry butted in ‘No, he’s mainly under the influence of red wine!’

Nasty is no longer with Chastity but they became firm friends after she gave up the Nazi stuff. She changed he name to Gwen Taylor and went on to become a famous and very talented actress.

Neil Innes (as himself) told me that George Harrison was a big influence on the original Rutles film. ‘He was in on it up to his neck!’ said Neil. ‘George thought of all the Fabs it would be great idea to have a jokey biography because pressures on them at that time to get back together were emormous and unbearable – it wasn’t a very pleasant time for them. The others also saw the fun of it and agreed to let us have footage’. George also arranged them to see the original ‘Long and Winding Road’ film. ‘It was a great help’, said Neil, ‘ because the true story makes you very depressed – so that’s why it needed a silly band to tell the story’.

George has also been supported of the Rutles comeback. ‘Like all The Beatles’,said Neil, ‘they want to get everything out of the cupboard and say ‘that’s it,that’s us!’ We we said to him about the Rutles, because lots people were asking me about us doing something, he said ‘It’s all part of the soup’.

Of course it is no coincidence the ‘Archaeology’ is coming out close to the Beatles ‘Anthology’. However as Neil remembers, ‘The last Rutles LP came out the same day as Paul’s ‘London Town’. At the press conference he gave they were just asking him about the Rutles. I did apologise to him about it. This time it doesn’t matter though as we’re all cleaning out our cupboards’.

The similarity between the Rutles and The Beatles is no coincidence, but led to a strange thing happening. ‘A guy from NME rang me up one day and said, ‘Mr Innes, we’ve got in our possession a Beatles bootleg and there’s a Rutles song on it. What have you got to say?’ I said ‘What’s it like?’ They played it to me over the phone and it was the version of Cheese and Onions I did for ‘Saturday Night Live’

Both John Halsey and Neil Innes had encounters with the Fabs before the Rutles. ‘I met Paul McCartney once in a Wimpey Bar in Piccadilly in 1964’ remembered Barry. ‘I was a teenager then. It was a Sunday night and the bar was packed. Paul walked in and was looking around for somewhere to sit and saw 2 chairs at our table at came over. We chatted for a while and he said it was nice to meet us and paid for our burgers and shakes. When we left we got as many funny looks has he did. As soon as we walked out a stranger came up to us and said ‘I’ve got two tickets to the London Paladium for tonight to see Sammy Davis, would you like them?’ So I saw met Paul McCartney and saw Sammy Davis in the same night. I’ve been up to Piccadilly every week since but nothing’s happened!’

Neil Innes was part of the Bonzo Dog Doo Dah Band. He remembers how they got to appear in ‘Magical Mystery Tour’. ‘It was through Mike McCartney’ said Neil, ‘The Bonzos and Mike’s group ‘The Scaffold’ used to bump in to each other a lot at gigs and became friends. Mike suggested to Paul that this silly band would be good for the film so we went along. Viv used to hang out with John Lennon a lot in clubs. It was at a club that Viv was moaning to Paul that our producer only let us spend two hours on each track and they weren’t finished. So Paul came down and produced ‘I’m the Urban Spaceman’ for us and did a great job.’

We finally got around to talking about the ‘Archeaology’ LP. Neil said the main inspiration to do it was from Rutles fans. ‘It was nice that people kept the Rutles music alive’ he said. ‘Because the Fabs were putting out the Anthology people asked us if we were going to do anything. This time around though we have have to acknowldege The Beatles did exist – the first time we didn’t to tell the story’.

Some of the tracks on the ‘Archeaology’ were written some time ago. ‘Shangri-la is as old as Cheese and Onions ‘ said Neil. Knicker Elastic King. was in ‘The Innes Book of Records’ and part of Rendevous was written when I was in the Bonzos – but I didn’t finish it then.’ This time the songs are more in Neil’s style than before. ‘You’ve got to remember that the first time we had to be accurate to the story. There were obvious musical signposts in the Beatles career. This time we had more freedom and we didn’t spent so much time trying to sound like old fashioned recordings.’

‘We really missed Ollie Halsall who sang on the first one, but we’ve got him on the archive tracks. We’ve done the best we can singing wise between us but he had the best singing voice of all of us. Though it’s widely tipped that Barry Wom is going to be made male vocalist of 1997’ ‘I’ve been nominated for a Granny!’ Inturrupts Barry.

When asked about the possibility of live performances Neil said ‘It depends on how the LP goes – but we could certainly do the songs live’. ‘Its been 20 years since the last LP’ said John, ‘If we wait any longer we’ll be making dead appearances! Here they are – the Rutles dead on stage!’

The video for Shangri-la was recently done in the US. However Neil said ‘Its a bit of a mess but hopefully there’s something there in the edit. Lots of people said they’d like to be in the video and we thought it would be nice to have some lookalikes too. We had Columbo, Madonna, Woopie Goldberg, Rod Stewart, Pat Boone…’ ‘No he was real!’ added John. There is a possibility of Rutles TV appearances in the UK and US.

All too soon it was time to say goodbye. While the interview was going on Rikki Faatar (alias Stig) was living up to his ‘quiet one’ image by laying on a sofa. he was suffering from jet lag. When I asked for some pictures, rather than Rikki having to get up John and Neil joined him on the sofa!

Neil’s final message was ‘We’re very happy to be together again’ while John said ‘This LP is dedicated to John, Paul, George and Ringo’.

The Rutles after a long tea session
The Rutles after a long tea session

Blogger Richard Porter is a professional London Beatles Tour Guide. For more info on his tours, see http://www.beatlesinlondon.com

The Making of the Beatles ‘A Hard Day’s Night’ DVD

From the archives of the London Beatles Fanclub Magazine – an exclusive Behind the Scenes view of the making of the A Hard Day’s Night DVD.

In October 2001 a crew from Miramax from the US were in London to interview the original cast and crew of A Hard Day’s Night – and I was lucky enough to be involved. I had three days in the company of the people that made one of my favourite films – and had a great time.

I was first approached at the Chicago Beatlefest to be involved in the DVD by Martin Lewis, the producer of the DVD edition. He wanted help with some of the original film locations and with locating some of the people involved in the film, and with providing archive material from my collection.

Originally, Martin and the film crew were due in London in mid September, but filming had to be postponed due to the tragic events of September 11th.

The film crew finally made it to London in early October, and spent a week interviewing the original cast and crew. Many of the interviews took place in Twickenham Film Studios, where most of the interior scenes of the film were shot.

The interviews were divided in two. On Thursday October 11th the crew of the film were interviewed and the next day the cast. On each occasion the participants had a chance to see the film again. And then they all contributed their reminiscences in a ’roundtable’ setting on audio. Each participant was also interviewed on camera individually by Martin.

I spent much of each day chatting to the participants while the others were being interviewed. At one point Martin discovered that one of the crew members waiting to be interviewed needed to leave soon because of his travel schedule – so Martin asked me to lend a hand and finish off an interview that he’d started with couple of the sound editors. That was something I wasn’t expecting! Martin told me afterwards that he was very pleased with my work.

Disappointing for me personally – Richard Lester, who of course directed the film, was not present with the other members of the crew that re-united at Twickenham Film Studios on the first day. He was unavailable that day – and Martin did a very extensive interview with him on another day.However many other fascinating characters were. These included Gilbert Taylor, who prior to working on A Hard Day’s Night, had been cinematographer on Dr Strangelove, and subsequently went on to be cinematographer on Star Wars and Alfred Hitchcock’s Frenzy. He had loads of stories about these great films he worked on.

Other Beatles-connected people present were Roy Benson, who was an assistant editor on A Hard Day’s Night, who, three years later, spent 3 months editing Magical Mystery Tour. Also present was Denis O’Dell, who was assistant producer on A Hard Day’s Night and later was head of Apple Films. I chatted to Denis in the cavernous studio one at Twickenham Film Studios, where The Beatles also filmed much of Let it Be. Denis told me it was really him who produced the film but towards the end of shooting Neil Aspinall asked if he could be credited as the producer and Denis agreed. I heard many stories about the making of the film which I won’t give away here – you’ll have to watch the DVD! I did hear one story that I found very amusing. As most of you know John, George and Ringo all had their solo spots in A Hard Day’s Night, without the other Beatles. The idea was to introduce The Beatles to their audience as individuals. You are probably wondering why Paul McCartney didn’t get a solo spot. Well, he did actually film one, but it got cut. The scene was based in a rehearsal studio for actors with Paul and actress Isla Blair. The official reason given for the scene being cut was that it didn’t fit with the rest of the film. However the version I heard was that Isla was wearing a low-cut period costume and Paul was staring down her cleavage! It wasn’t noticed until it was too late to re-shoot so Paul lost his solo scene!

For lunch Martin took the crew to the nearby pub The Turk’s Head. This too was A Hard Day’s Night location. It was the pub which Ringo enters during his walkabout and disrupts all the pub games. The bar looks remarkably similar to this day. Winchester Hall, the function room of the pub, was used by The Beatles for an end of filming party and it was here the crew enjoyed a grand meal and further reminiscences.

One lady I met that day was Betty Glasow, who was The Beatles hairdresser on both A Hard Day’s Night and Help. She had with her a photo album filled with amazing mementos, including a photo of the Fabs in Help signed by all four with funny captions. I couldn’t help noticing that George signed as George ‘Dandruff’ Harrison! She also had a signed first edition of A Spaniard in the Works, signed with a special message from John, together with a lock of his hair. When I told her how much I thought her collection was worth she was amazed.

The next day it was the turn of the actors in the film. Those present included John Junkin, who played Shake, Anna Quayle, who played Millie -the lady who engages in a conversation with John in the corridor, dancer Lionel Blair, Jeremy Lloyd, who is seen dancing with the Fabs in the nightclub scene. He was the one teaching Ringo the Jumping dance! Another great character I met was David Janson. He played the young boy that Ringo bumps into when walking by the river.

As with the crew – everyone was interviewed both separately and in a roundtable setting. And they all had lunch at the Turk’s Head pub.

I had a wonderful time meeting all these wonderful characters and hearing their stories of how one of my favourite film was made.

You’ll see it all on the DVD!

PS Betty Glasow later sold her collection at auction. The signed copy of a Spaniard in the Works sold for £24,000!

An Interview with Kenny Everett

During my time as the President of the London Beatles Fanclub, and the editor of its’ magazine ‘Off the Beatle Track’ I got to meet and interview many great Beatle People.  Perhaps the highlight was interviewing the great Kenny Everett. Kenny talked to me about how he was sent to the US to cover the Beatles 1966 US tour, and how he spent a couple of days with John Lennon at Kenwood.

There are quotes from this interview in Kenny’s official biography :>)

An Interview With Kenny Everett

In June members of the LBFC went to Capital Gold’s Beatlemania party on Paul’s 50th birthday and helped sell tickets for the event. As a return favour Gill Woods at Capital asked me if there was anything they could do for me. At this point I felt a bit cheeky and asked if it would be possible to interview Kenny Everett, not thinking for one minute that it would be possible. However Gill said she would see what she could do. A day later she rang back and said that Kenny had said yes ! I then rang Capital’s press officer, Norman Divall, to arrange a date. Two weeks later I found myself at the Capital studios in Euston Road talking to one of England’s most famous D.J.s. Kenny was really patient and friendly and told some great stories as you can read for yourself below:…

  • How did you get onto Radio London?

Well, it was pure luck actually, they had just thought of the idea of broadcasting into England from a boat; it had never been tried before. And I was getting fed up of living in Liverpool, and I tried for a job at the B.B.C. but they said ‘ No, no we’ve already got two D.J.’s – we don’t need any more’. Those were the days when they didn’t play many records. So I went up to London anyway to see what was going on, and the pirates had just sailed in, about a week before, and they were pleading for disc jockeys, so I just happened to be there when they were pleading, and I said ‘Oh, will this do?’ and I gave them a tape of me doing daft bits and pieces, chatting away into a microphone, and they said ‘ Oh perfect, come aboard !’ and that was it really, I was on board the next day. So how’s that for luck !

  • I believe one of the assignments you did for Radio London was to be sent over to America for one of the Beatles tours….

The greatest day of my life. I had a phone call from the boss… I was sitting in my flat…we used to spend two weeks on the pirates and then one week off…and I was sitting around twiddling my thumbs, and the phone rang, and it was Alan Keene, who was the Programme Director of Radio London, and he said to me ‘How would you like to go to America ?’ And I’d never been before, and I nearly died of happiness. And he said ‘we want you to go to over there and do loads of shows,’ and I thought, Oh fabulous, America – New York, Chicago, L.A… ‘What’s the purpose of it ?’ He said, we’d like you to follow the Beatles around, 32 cities in 40 days. And I couldn’t reply because I’d fainted! It was just the best thing. A trip to the States, free, total luxury in fab hotels, and mingling with my idols! So it was just the best phone call ever possible.

  • Wasn’t it sponsored by Bassets…?

…the jelly baby people, yes; you know the reason for that do you ? Well someone threw one at Ringo at one of their gigs, and he leaned over and picked it up and he ate it, and the next gig they did there was millions of jelly babies flying over the footlights, and Mr. Basset heard about this and he thought, ‘hey, that’s a good idea!’ So he sponsored my trip to America, God bless him ! I guess it was lucky they didn’t throw something else at them…. …like a condom ! That might have been awkward .

  • Was this the ’66 tour ?

Yes it was. That was the tour with all the problems with all the ‘Beatles are bigger than Jesus Christ’ stuff. Oh was it ? We didn’t have any problems on the tour, apart from trying to get eaten by a million fans in every town, and they kept rushing the bus and bashing on the side of the van, and running across the fields to the guitars. But apart from that it as very well behaved. Everyone just screamed and that was it.

  • What were the Fabs’ reaction to you? Presumably you’d met them a number of times.

No, we’d never met before, I remember getting on the plane to go to America, and I heard Paul McCartney’s voice saying,’Which one’s Kenny Everett ?’ and we introduced ourselves and that was it.

  • I believe you also edited their Christmas records.

Yes, that’s right, I was very honoured.

  • How did that come about ?

I was on the BBC by now, and I think I was the only DJ that really spent a lot of time in the studio messing around with tapes. I was quite friendly with the people that managed them, and one of them said one day ‘we’ll give you a lot of tapes of them messing around and we’d just like you to edit them and present them in to a jolly floppy disc.’ That was such an honour, I mean, it wasn’t given to me as an honour, it was just ‘Here, can you make something of these ?’ But I considered it to be a great honour as they could have chosen anybody. So that was fun to do. I have all the out- takes at home ….

  • I was going to ask you about that… is there much of interest ?

Actually, there’s not much that I didn’t use, because it was so good I used it all you see. It was just them messing around with a guitar. …There’s a couple of tunes that they did on the Christmas tapes that could have been made into records… ‘Christmas Time is Here Again’. That could have been made into a Christmas record. I was once in Abbey Road Studios when they were recording I am the Walrus and I was sitting down listening to John rasping away…because you know they were very tired, it was coming to the end of the day, about 11 o’clock at night…and he was singing away about ‘standing in the English rain’ and he pressed the switch and said ‘ Oh doesn’t this remind you of that time we walked around the golf course’ – because I went to his house once and we walked around in the rain, and I said ‘Oh, just shut up and start singing again !’ And the producer George Martin said ‘ No we can’t go on, your voice will collapse,’ If you listen to the record it really is on the edge of collapse , but they were so prolific, they wanted to get as much stuff done as possible. They couldn’t just stop producing music. They wouldn’t even stop for a sandwich hardly. ‘No let’s do it now !’ It was all pouring out. It was well after midnight and they never went to bed. But it was a great occasion, it’s not often that you get to sit at John Lennon’s feet when he is creating a number one.

  • Did you go the clubs with the Beatles in the 60’s ?

Well, I’d see them around. Those were the days when you’d sort of bump into them. I think they were the last pop people who actually had a good time, go places, and stay out all night and be silly. Nowadays it’s a huge business and there are rotweillers between the group and the audience. That was the last time that rock stars used to go down into clubs, just to dance the night away. The sixties were a fun time when everything came together, the fashion thing, that all suddenly happened, and London was fab – it really was then, it wasn’t all dirty and disgusting with people living in boxes, it was really jumping. And there were the Beatles and the pirates and all that, a general loosening up. Of course the war had gone by then and rationing had finished so people started throwing their legs in the air and having a good time. It was a good place to be, around London, in the sixties.

  • Did you get to be really friendly with John in that period?

Not really, no. Because we were both always so busy during that period. I went to his house once. We were leaving a club in Margaret Street, The Speakeasy. Those were in the days when Traffic would play, just get up out of the audience and do a set. John was there and we went outside after we’d finished clubbing, and he said, ‘Do you want a lift ?’ and I said ‘Yeah, I live in Lower Sloane Street’ And he said “Oh great, we’ll drop you off.” So I jumped into the back of this gigantic thing… and it was Terry Doran driving , with one arm out the window and one finger on the wheel, he was a maniac ! When we got to Lower Sloane Street he went straight past my house and I thought ‘Oh, well, I’d rather be in this car than in my house.’ So I just kept quiet in the back and before we knew it we were in Weybridge at his house and I stayed for a couple of days. It was rather fun. It was a gigantic place, it’s not the sort he’d want now if he were still alive, it was a stockbrokery sort of place, mock Tudor monster and yards of lawn. There was an occasion in the house when there was a girl spotted at the door. She’d somehow climbed over the wall. And someone said, ‘Oh John, there’s a fan at the door’ and he walked all the way down the path and chatted to her for a while and then just gently led her out and said goodbye. And I thought that was very pleasant, he could have had her shot or unleashed the odd dog. But he went out to speak to her, that was rather sweet.

  • I believe you met Brian Epstein a few times?

Oh yes, I knew Brian before he was famous. He used to own a couple of shops in Liverpool, one called NEMS and one called Epstein’s. I used to work in an advertising agency and i used to take copy to him to approve. Then he suddenly discovered these four wandering geniuses and said ‘Hey, let’s get famous!’ and the next thing I know is this person I’d been taking advertising copy to was riding around in a 10 mile long car. It was so funny how it came together because after knowing him in the advertising world there I was 15 years later, standing in his house in Chapel Street with the Beatles all dressed in bows and beads at the Sergeant Pepper launch. It was a fabulous party, every single person in the universe was there. I remember them standing up against the fireplace, bonkers, they couldn’t string two words together.

  • Yes, I’d heard John was a little bit…

…A little bit ! He was on Mars! Those were the days, if you took a little something it was fun. then a lot of people went too far and started throwing themselves off buildings so all the fun has been taken out of it.

  • Weren’t you the first DJ to play Sergeant Pepper ?

Well I was the first DJ to play Strawberry Fields Forever. I first heard Sergeant Pepper in George’s house. He had a low slung white goes-on- forever house in Esher. And a bunch of us including Tony Hall from Deram records was invited to George’s place to hear this new album. He had an acetate of it. He put it on the gramophone, and we all sat around and this thing started and blew us away, we were completely gone and on another planet, it was a quantum leap, and we thought, ‘music can stop right here, nobody is ever going to produce anything better than this, so all musicians can go back to bed now’, it was the best thing we’d ever heard ! And George said ‘It’s quite good isn’t it ?’ The night before they’d all had a party, and they’d decided to get spray cansof coloured paint and spray ‘God is Love’ and other things all over the walls of the house, this wonderful million dollar house,and they sprayed flowers, and words all over it in a stoned orgy the night before. He’d woken up the next morning to get the milk in and had horror written all over his face at what they’d done.

  • I believe you were involved in John and Yoko’s message to the world in about 1978 ?

Yes, I’d forgotten about that. I got a call from Yoko. She said ‘An angel’s been speaking to John, would you like to tell the world ?’ It was highly embarrassing, because I knew as soon as rang the newspapers and told them ‘an angel has been hovering over John’s shoulder and here’s what she said’ that there would be a giggle and a guffaw. But they printed it of course. Well they printed bits of it.

Richard Porter