1. Rolling Stone issues # 74 & 75 (21 Jan & 4 Feb, 1971) John Lennon: The Rolling Stone Interview by founding editor Jann S. Wenner. Part One: The Working Class Hero.
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Our take on 'The Thrill of It All,' the second album from the Grammy-winning U.K. crooner. Shop Old Stone Oven at the Amazon Bakeware store. Free Shipping on eligible items. Everyday low prices, save up to 50%. Get exclusive film and movie reviews from THR, the leading source of film reviews online. We take an honest look at the best and worst movies Hollywood has to offer.

John Lennon (text and podcast) – IMAGINE PEACEWhen you came down what did you think? I was pretty stoned for a month or two. The second time we had it was in L. A. We were on tour in one of those houses, Doris Day’s house or wherever it was we used to stay, and the three of us took it, Ringo, George and I. Maybe Neil and a couple of the Byrds — what’s his name, the one in the Stills and Nash thing, Crosby and the other guy, who used to do the lead. Mc. Guinn. I think they came, I’m not sure, on a few trips. But there was a reporter, Don Short.

We were in the garden, it was only our second one and we still didn’t know anything about doing it in a nice place and cool it. Then they saw the reporter and thought “How do we act?” We were terrified waiting for him to go, and he wondered why we couldn’t come over. Neil, who never had acid either, had taken it and he would have to play road manager, and we said go get rid of Don Short, and he didn’t know what to do. Peter Fonda came, and that was another thing.

He kept saying [in a whisper] “I know what it’s like to be dead,” and we said “What?” and he kept saying it. We were saying “For Christ’s sake, shut up, we don’t care, we don’t want to know,” and he kept going on about it. That’s how I wrote “She Said, She Said” — “I know what’s it’s like to be dead.” It was a sad song, an acidy song I suppose. When I was a little boy”… you see, a lot of early childhood was coming out, anyway.

So LSD started for you in 1. It went on for years, I must of had a thousand trips. Literally a thousand, or a couple of hundred? A thousand. I used to just eat it all the time.

I never took it in the studio. Once I thought I was taking some uppers and I was not in the state of handling it, I can’t remember what album it was, but I took it and I just noticed… I suddenly got so scared on the mike. I thought I felt ill, and I thought I was going to crack. I said I must get some air. Watch Love Takes Wing HD 1080P. They all took me upstairs on the roof and George Martin was looking at me funny, and then it dawned on me I must have taken acid. I said, “Well I can’t go on, you’ll have to do it and I’ll just stay and watch.” You know I got very nervous just watching them all.

I was saying, “Is it all right?” And they were saying, “Yeah.” They had all been very kind and they carried on making the record. The other Beatles didn’t get into LSD as much as you did? George did. In L. A. the second time we took it, Paul felt very out of it, because we are all a bit slightly cruel, sort of “we’re taking it, and you’re not.” But we kept seeing him, you know. We couldn’t eat our food, I just couldn’t manage it, just picking it up with our hands. There were all these people serving us in the house and we were knocking food on the floor and all of that. It was a long time before Paul took it.

Then there was the big announcement. Right. So, I think George was pretty heavy on it; we are probably the most cracked.

Paul is a bit more stable than George and I. And straight? I don’t know about straight. Stable. I think LSD profoundly shocked him, and Ringo. I think maybe they regret it. Did you have many bad trips?

I had many. Jesus Christ, I stopped taking it because of that. I just couldn’t stand it. You got too afraid to take it?

It got like that, but then I stopped it for I don’t know how long, and then I started taking it again just before I met Yoko. Derek came over and… you see, I got the message that I should destroy my ego and I did, you know.

I was reading that stupid book of Leary’s; we were going through a whole game that everybody went through, and I destroyed myself. I was slowly putting myself together round about Maharishi time. Bit by bit over a two- year period, I had destroyed me ego. I didn’t believe I could do anything and let people make me, and let them all just do what they wanted. I just was nothing. I was shit. Then Derek tripped me out at his house after he got back from L. A. He sort of said “You’re all right,” and pointed out which songs I had written.

You wrote this,” and “You said this” and “You are intelligent, don’t be frightened.”The next week I went to Derek’s with Yoko and we tripped again, and she filled me completely to realize that I was me and that’s it’s all right. That was it; I started fighting again, being a loudmouth again and saying, “I can do this, “fuck it, this is what I want, you know, I want it and don’t put me down.” I did this, so that’s where I am now.

At some point, right between “Help” and “Hard Day’s Night,” you got into drugs and got into doing drug songs? A “Hard Day’s Night,” I was on pills, that’s drugs, that’s bigger drugs than pot. Started on pills when I was 1. Watch Insight Of Evil Vioz. I was 1. 7, since I became a musician. The only way to survive in Hamburg, to play eight hours a night, was to take pills. The waiters gave you them — the pills and drink. I was a fucking dropped- down drunk in art school.

Help” was where we turned on to pot and we dropped drink, simple as that. I’ve always needed a drug to survive. The others, too, but I always had more, more pills, more of everything because I’m more crazy probably.

There’s a lot of obvious LSD things you did in the music. Yes. How do you think that affected your conception of the music?

In general. It was only another mirror. It wasn’t a miracle. It was more of a visual thing and a therapy, looking at yourself a bit. It did all that. You know, I don’t quite remember. But it didn’t write the music, neither did Janov or Maharishi in the same terms.

I write the music in the circumstances in which I’m in, whether its on acid or in the water. What did you think of “Hard Day’s Night,”? The story wasn’t bad but it could have been better. Another illusion was that we were just puppets and that these great people, like Brian Epstein and Dick Lester, created the situation and made this whole fuckin’ thing, and precisely because we were what we were, realistic. We didn’t want to make a fuckin’ shitty pop movie, we didn’t want to make a movie that was going to be bad, and we insisted on having a real writer to write it. Brian came up with Allan Owen, from Liverpool, who had written a play for TV called “No Trams to Lime St.” Lime Street is a famous street in Liverpool where the whores used to be in the old days, and Owen was famous for writing Liverpool dialogue. We auditioned people to write for us and they came up with this guy.

He was a bit phony, like a professional Liverpool man — you know like a professional American. He stayed with us two days, and wrote the whole thing based on our characters then: me, witty; Ringo, dumb and cute; George this; and Paul that. We were a bit infuriated by the glibness and shiftiness of the dialogue and we were always trying to get it more realistic, but they wouldn’t have it. It ended up O. K., but the next one was just bullshit, because it really had nothing to do with the Beatles.

They just put us here and there. Dick Lester was good, he had ideas ahead of their times, like using Batman comic strip lettering and balloons. My impression of the movie was that it was you and it wasn’t anyone else. It was a good projection of one facade of us, which was on tour, once in London and once in Dublin.

It was of us in that situation together, in a hotel, having to perform before people. We were like that.

The writer saw the press conference.“Rubber Soul” was…Can you tell me whether that white album with the drawing by Voorman on it, was that before “Rubber Soul” or after? After. You really don’t remember which?

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