• Re: Jack Douglas exposes Yoko's evil - Beatlefan (1/2)

    From nick hanna@21:1/5 to Emma Smulders on Fri Dec 3 13:39:23 2021
    On Monday, March 15, 2021 at 7:34:28 AM UTC-5, Emma Smulders wrote:
    Op maandag 15 maart 2021 om 11:41:51 UTC+1 schreef Norbert K:
    On Sunday, March 14, 2021 at 1:17:57 PM UTC-4, Emma Smulders wrote:
    Op zondag 14 maart 2021 om 15:22:54 UTC+1 schreef Norbert K:
    On Sunday, March 14, 2021 at 9:18:32 AM UTC-4, Emma Smulders wrote:
    Op zondag 14 maart 2021 om 12:48:49 UTC+1 schreef Norbert K:
    On Saturday, March 13, 2021 at 8:33:42 PM UTC-5, Emma Smulders wrote:
    Op zaterdag 13 maart 2021 om 15:55:12 UTC+1 schreef Norbert K:
    On Saturday, March 13, 2021 at 7:27:54 AM UTC-5, Emma Smulders wrote:
    Op vrijdag 12 maart 2021 om 14:28:31 UTC+1 schreef Norbert K:
    On Friday, March 12, 2021 at 7:01:25 AM UTC-5, Emma Smulders wrote:
    Op donderdag 11 maart 2021 om 16:12:19 UTC+1 schreef Norbert K:
    On Wednesday, April 7, 1999 at 3:00:00 AM UTC-4, rig...@my-dejanews.com wrote:
    Here are excerpts from the interview in "Beatlefan" with producer Jack
    Douglas.
    Read it and weep, Yoko defenders and brown noses. Lennon's Last Sessions
    Producer Jack Douglas on Recording 'Double Fantasy.' When John Lennon and Yoko Ono decided to return to the recording studio in
    1980, they enlisted an old cohort to produce the sessions. In this revealing
    conversation, he tells Ken Sharp what it was like ....
    Producer-engineer Jack Douglas was known primarily for his work with
    Aerosmith and Cheap Trick before he got a mysterious phone call in 1980 that
    launched him into John Lennon's 'comeback' recording sessions - also his
    final sessions, as it turned out. Contributing Editor Ken Sharp talked with
    Douglas recently about those sessions and Lennon's work with Cheap Trick- one
    track of which is included in the new 'John Lennon Anthology' box set ...
    Q: I want to get into the Lennon "Double Fantasy" sessions, but I didn't
    realize that you'd worked with John prior to that on, was it, the "Imagine"
    album or the song "Imagine"?
    A: The "Imagine" album.
    Q: You engineered some of that?
    A: Yeah. Well, I was second engineer. Roy Cicala was first engineer but
    that was where I met John.
    Q: What was that like working with John back then? A: It was amazing and it's so weird because we got to be friends. I was
    working in one studio; I was doing editing while he was tracking in another
    room and doing vocals. I mean, there was no way I was allowed to do vocals
    with him. I was way too young but he came in and I was putting stuff
    together and editing and he said to me "How ya doing?" You know, I'd met him
    earlier in the day but this was the first day and I said "OK, OK.' I wanted
    to be nervous but like I said, he wouldn't let you be. And he lit up a smoke
    and I said to him "I've been to Liverpool" and he looked at me and said "why
    the hell would you have been to Liverpool?" and I said well, you want to
    hear this story?
    Q: Is this the one on the boat? [As a young musician, Douglas and a friend
    stowed away on a boat In order to get to Liverpool, only to be caught and
    written up in British newspapers.]
    A:Yeah. I told him that story. And he, like, cracked up, he was cracking up
    'cause they'd read the papers about these idiots who were held captive on
    this boat ... after that, he said "What are you doing?" I said, "Well, after
    this?" He goes, "Yeah". I said "Nothing." He goes, "You can come with me.'
    So we went out, you know, and he took me to a party and he was like - see, I
    told him I was born and raised in New York, and he would say to me, "See that
    guy over there?" "Yeah" and if I knew him, he'd say, "Well, who is he? What
    is he?" I'd say, "Well ... that guy's an asshole. Don't even go near him.
    He'll fuck and suck your blood." "Thanks, man." It was like one of those kind
    of things.
    Q: So you continued the friendship through the' 70s? A: Yeah, all through it. And, in fact, I was staying with him out in L.A.
    during the crazy period (the so-called 'Lost Weekend") while I was producing
    Alice Cooper.
    Q: Oh, okay "Muscle Love"?
    A: "Muscle Love", yeah. And so I was hanging, I was hanging with him and I
    was doing Yoko records. All those crazy records with Yoko during which John
    was most of the time not allowed in the studio.
    Q: Really.
    A: Yeah. You know, I never let those two…very rarely when I did "Double
    Fantasy" did I ever have them in the room at the same time.
    Q: Why?
    A: It just didn't work. John always wanted to get in to Yoko's stuff and she
    could not bear it. It was already . . . there was already too much
    competition between those two.
    Q: You really think there was, even then?
    A: Yeah. Absolutely. And so it was, it just was when John came in and heard
    what she did after it was done, it was like 'Yeah!" he'd get really excited.
    But if he was there ...
    Q: Would she be excited, conversely, with what he did?
    A: Nah, "That's good, John", you know. But, yeah, he was always good. For
    her, getting her part done was the biggest challenge, you know. And I mean,
    he was just ... I mean, for me, he was the ultimate guy to produce because he
    was such a true professional. He always left his ego outside the door when
    he came into work.
    Q: What was he like as a player?
    A: He was a great rhythm player. He could not play lead to save his life.
    Very small hands, so he had no reach at all. But man, rhythm ...
    Q: How did you get enlisted to produce "Double Fantasy" and wasn't It a secret
    for awhile? If you can talk about how it was kept hush-hush ...
    A: Yeah. How did I get ... I think I ran into John about six months before
    we did that record, maybe almost a year. I was in a health food store over
    on the East Side and in comes John and Sean, who was maybe 3. And the nanny
    and they were just coming from the YMCA where they'd been swimming. And John
    comes up and goes 'Hey, Jack' and I hadn't seen him in years. "Jack, how ya
    doing? What's happening? Oh, you're a big producer now.' He was always
    kidding me, or goofing with me. And I was goofing back with him. And he
    told me, 'Why don't you call me?" Gave me his number, and he said "Come on
    over to the Dakota and hang out' and I just, I took the number and I stuck it
    in my pocket and my wife said to me, 'Wow, that s great, he wants you to come
    over and hang out and stuff, 'And I said 'Yeah, I'll do it, you know, but,
    you know, maybe he was, I mean, he's so involved with his family now and he's
    kinda out of the business. I'll call him sometime.' I never did. I never
    did. Stupid, too, isn't it?
    Q: Damn, If John Lennon gave me his phone number ... A: And I never, I never called him. I always felt like 'I don't want to
    really bother him," you know and It turns out he would have liked to have
    gotten that call and it was really stupid of me not to do it but anyway the
    thing was John was - we had a relationship and it was a good, trusting
    relationship and also I had that same relationship with Yoko. She also
    trusted me; she knew that I respected her work. And that I was a trustworthy
    person and John, I once asked him, I said -well into the album, we're sitting
    there and mixing and I said to him "I meant to ask you, why am I doing this
    record with you?' I said, "I just wanted to know..."He said, "Because you
    have good antenna and that works for me because you always can read me, you
    know what this is about' and that s pretty cool because I always felt that
    was one of my strong points but it was very important to him to be able to so
    easily communicate with his producer. And again, like I said, because he was
    so without ago when he was working, he would just take a direction- If I told
    John, 'For this vocal, I need you to stand on your head," he'd say, 'if you
    think that's better, I'll do it.' I mean, he was like that.

    Q: Were there any tracks that took a bit more time for him to nail?
    A: I don't remember. Sure ... they all took about an equal amount of time.
    "Beautiful Boy" maybe took a little bit longer because of the chorus. Then
    he would double. He would double track his vocal, like in Beautiful Boy,
    like he would double. First shot. He loved doubling. Yeah, he was the
    perfect doubler. But you know, he doubled because he hated the sound of his
    voice. And I used to tell him, 'John, you don't have to double." I mean,
    when he sent me the demos from Bermuda - you have to understand that these
    are recorded on a boom box, right, a Panasonic, and it was just acoustic
    guitar or in one case, piano on 'Real Love' and him and I think, Fred Seaman,
    banging on pots and pans, and he actually took the time to play those from
    one Panasonic to another one and double his vocal because he couldn't bear
    that - I would hear these things with a single vocal.
    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.
    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 ...
    Q: Of her songs?
    A: Yeah, a stack. I mean, she'd been in the Record Plant with Elephants
    Memory, doing demos ... I wonder where those demos are; some of them were
    very cool. And just a stack of not cassettes, of 5-inch reels, of seven and a
    half, dozens and dozens of songs. And I was like shook up, 'You gonna have a
    couple of tunes on this record?' Handing me stacks and John finally called me
    and he said, you know, "I don't really think I have that much stuff, you
    know.' He eventually sent me another one. He said, "I think if s kind of the
    same old shit' and actually that is on the tape, him saying that. 'Most of
    it, I think we'll give to Ringo" and 'The deal is, I don't know if this is
    really going to come off.' He said, 'I'm going to give it a try but, Jack,
    I've been out of it for a while and I don't even know what's going on. . So
    the deal was put together a band, arrange the songs any way I thought would
    work, I mean, as you know, if you've heard any of those things that are out
    around, you know, that things like ... 'Watching the Wheels" was like
    boom-jang, boom-jang, it was like fast, and almost Dylany and stuff. And he
    wrote me a letter saying, 'Can you make it sound circular?' You know, it was
    all these instructions I got from him and the deal was 'Don't tell anyone
    this is happening.' We put together the band.
    Q: I was curious about why you chose some of those players.

    A: I wanted guys that were - well, he knew Hughie [McCracken), anyway. And he
    knew (Andy Newmark] and he'd played with him. So these were guys who were his
    contemporaries. So the important thing for me there was if John made a
    reference to something that was maybe from the early '60s, or even the '50s
    these were guys who would know what he was talking about.
    Q: Quick.
    A: Yeah, quick was very important. I did not want guys who went "duh' and I
    also needed
    guys who could read. You know, the only guy who couldn't read was Ed [Slick].
    And I brought in Ed because he'd done such fine work with David Bowie.
    A: Let me just go back a little bit ... now the band didn't know, had no idea
    who they were - Tony Davilio and I did all the charts for all the songs
    except for 'Starting Over, which did not exist at that time, just didn't
    exist. So I'm singing all of the songs to the band at rehearsal an octave
    lower than he would sing 'am. And they're like 'Wow, great songs, Jack, but
    really, the vocals, I mean, who's singing these things?" Apparently, a couple
    of the guys had guessed but didn't say anything because I told them, you
    know, this is a secret session. They all loved it. The pay was good.
    They're all getting double.
    Q: Of the scale?
    A: Yeah. The same with the studio. I booked the time but they didn't know
    who for.
    Q: The Hit Factory, right?
    A: It was way out west. . . it was out of the way. No one would know. We
    could go in and out of there without ever being seen.
    Q: So what was it like when he first walked In?
    A: Well, there was one more rehearsal, the last, the night before the
    sessions, the last rehearsal was at the Dakota. He sits down at the Fender
    Rhodes and he plays "Starting Over" and I said, "Where'd that come from?" He
    said, "Oh, I dunno, it just kinda came.' He said, "You think it'll make it to
    this record?" I said, "Make it? " I said, "It's gonna be the first single."
    I said, "It's gotta be the first song on the record. You know, come on, it's
    perfect." So we recorded that, we went in and rehearsed that in the studio
    ...
    Q: It's the first track you recorded?
    A: The first track we recorded. And it just went down. Now, all this time,
    we're in there, we were in there a month before there was any acknowledgement
    that these sessions were going on. Here was the deal: If word got out that
    these things were happening, it was over; it was gonna end. So, I mean, I'd
    tell that to the musicians ...
    Q: Why was it so secretive?
    A: Because he wasn't sure if he could do it. You know, he was very, very
    insecure about this stuff. He didn't think he had it any more, you know. He
    thought he was too old, he just couldn't write, he couldn't sing, he couldn't
    play, nothing.
    Q: Do you think once he started playing again with the band ...
    A: It took awhile, it took awhile, there were some moments there where yeah,
    he was like, "I don't know. . ." I used to have breakfast with him every
    morning, he insisted at 9 a.m. I'd come to the Dakota and he was always so
    punctual. 9 a.m., he came out his door and we would walk from the Dakota to
    La Fortuna on 71st Street, a little cafe. We'd sit in the back, in the
    garden, and have chocolate iced cappucinos and talk over what happened last
    night, what was gonna happen, what was going on with Yoko, everything. And
    then, he'd go back and he'd like take a nap and by 11 o'clock I'd working
    with Yoko. But we'd sit there couple of hours and talk through every and
    there were moments at La Fortuna when I had to say, "John, really, I swear,
    it's good know, it's good, I'm telling ya. Even the vocals, everything, you
    sound great.'

    Q: What do you remember about the last thing you said to John or what did he
    say to you?
    A: The last thing I said to him and he said to me was "I'll see you in the
    morning at 9 a.m.' The usual. We were going to meet and then we were
    mastering that next morning. We were going to master 'Walking on Thin Ice".
    It was done. We'd finished the mix so, I mean, I said goodbye to him. I saw
    him with this huge, with this big smile on his face and his new leather
    jacket that he'd gotten at The Gap a few weeks earlier which he loved, and
    there's just this big smile on his face, "I'll see you in the morning."
    Q: How long after did you hear [that he'd been shot]?
    A: About 45 minutes later.
    Q: How did you hear about it?
    A: My wife came in and told me. We lived only a few blocks [away].
    Q: You must have thought you were hallucinating ... A: I absolutely did that. I thought I was hallucinating for a good six
    months, good six months, it was like, gone - it wasn't a good six months, a
    bad six months.
    Q: Yeah, of course, of course.
    A: I mean, I just flipped out.
    Q: What happened after, there was a lawsuit at some point because you weren't
    paid royalties? Did that get straightened out? You got paid finally.
    A: Yeah, yeah. Boy, what that was. 'Cause I waited like, two years, three
    years. I had a contract. I waited like three years then I finally said to
    Yoko, you know, 'It's like really like a lot of royalties probably accruing
    here. You know, I think it's time like we maybe have ... accountants, have
    somebody, you know, you don't have to deal with it, let's just sort it out,
    let our people sort it out.' And I got like a nasty letter. Almost like
    "Fuck you, you're not getting anything." And it was like "What? I don't get
    this." And, I mean, all kinds of nasty business went down after that, you
    know, being followed and having people offered money to say bad things about
    me. None of which, even if they had succeeded, I mean, Cheap Trick was
    approached, none of those things ...
    Q: To say bad things about you?
    A: Yeah, yeah.
    Q: By her? By someone in ...
    A: Yeah, someone In her camp, ex -FBI guys, Elliot Mintz.
    Q: What do you think of him?
    A: Ugh. I'm not an Elliot fan. You doesn't like me; I don't like him ...
    weird because John, you know, didn't have one good word for Elliot. Sorry,
    Elliot. It's like, if Elliot was coming, John was like 'ugh'. He was more
    Yoko's friend. Yeah. I can remember Elliot coming by r place, you know.
    Someone brought him their not knowing that it was not a good idea but I came
    up and it was a house I had in the Hollywood Hills ... I was doing some
    records out there. And I so treasured these great pictures that I had, of
    John and 1, that I would take them with me when I was traveling. I was going
    to spend six months in a house in Los Angeles so in my little office I had
    pictures of John and 1. Amazing picture of John and I listening to 'Starting
    Over' for the first time, [while finishing up 'Double Fantasy'] somebody from
    the maintenance shop, because we released it as [an advance] single.
    Somebody from maintenance said 'Hey, they're playing 'Starting Over on the
    radio." John and I went running into the maintenance shop and we're both
    standing like dumbfounded, like with these stupid smiles, like kids,
    listening to 'Starting Over" and there's a little radio, me and John leaning
    over it, unopposed just like kids and somebody took a snap of it and so I had
    all these pictures and someone brought Elliot by and Elliot saw these
    pictures around my place ...
    My place was burglarized and you know what they stole? Pictures. That's
    all. All the pictures were gone. Every picture I had. There must have been
    a dozen, really beautiful. That's strange.
    I mean, all my gold and platinum records ended up in a closet at Yoko's. I
    never got them! Well, somebody [took] one out and gave it to me as a birthday
    present. They gave me a platinum single and a platinum record.
    Q: But you worked on the record, you were very loyal.
    A: One day, I asked someone, I'm not gonna mention the name because he's
    still working, a loyal employee, who was also a good friend, and I asked him,
    "What's the story up there?" and he said, 'I don't know, Jack, for some
    reason you are on the enemies list.' And all I could ever think of was that I
    knew too much. And that it would be better - she suspected that everyone who
    knew a lot over the years was gonna write a book, you know, and that I would
    be one of these people who wrote a book and like tried to make money off it.
    Q: And you still haven't.
    A: You know, I made enough just in the royalties, [they] were like 3 million
    bucks. It was like ridiculous and she really lost a good friend because I
    was really a friend to her and I really respected her art. And she always
    knew that, so she really lost a good friend. I pleaded with her over and
    over again every time that we could see each other where I could get a word
    in, 'Yoko, don't go to court. This is so silly, let's not go to court. And
    when we did, it was a big public to-do. And she really was, I mean, it was a
    jury trial, six in the civilize, and the jury was out five minutes, came back
    in and the judge screamed at her, and it was like all this. Like how can you
    do - it was a matter with the contract. Like she tried to say the contract
    was a forgery, all this really weird stuff, brought in people to say that I
    ... people like [Rolling Stone publisher] Jann Wenner to say that I was a nobody, that they'd never heard of me ... and then
    my lawyer said "Can we talk about how many times you've mentioned him in your
    magazine?"... He made Jann read those on the stand. Q: John was talking about touring?
    A: Oh, yeah, yeah.
    Q: What was his plan?
    A Oh, tremendous production, including and these have to be on some of the
    "Lost Lennon Tapes" or whatever they call them his arrangements of songs that
    he said 'we never got right,' which were "She Loves You" and "I Want to Hold
    Your Hand".
    Q: He was gonna do them?
    A: Yeah, he was gonna do them. He was going, "You know, we never - we always
    wanted to do something like ... but it never got done exactly the way we
    wanted to do it."
    Q: You remember how he wanted to do some of those songs?
    A: He played them on guitar.
    Q: And how were they different?

    [continued in next message]

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  • From Norbert K@21:1/5 to Emma Smulders on Sat Dec 4 06:44:30 2021
    On Monday, March 15, 2021 at 9:16:09 AM UTC-4, Emma Smulders wrote:
    Op maandag 15 maart 2021 om 14:01:40 UTC+1 schreef Norbert K:
    On Monday, March 15, 2021 at 8:34:28 AM UTC-4, Emma Smulders wrote:
    Op maandag 15 maart 2021 om 11:41:51 UTC+1 schreef Norbert K:
    On Sunday, March 14, 2021 at 1:17:57 PM UTC-4, Emma Smulders wrote:
    Op zondag 14 maart 2021 om 15:22:54 UTC+1 schreef Norbert K:
    On Sunday, March 14, 2021 at 9:18:32 AM UTC-4, Emma Smulders wrote:
    Op zondag 14 maart 2021 om 12:48:49 UTC+1 schreef Norbert K:
    On Saturday, March 13, 2021 at 8:33:42 PM UTC-5, Emma Smulders wrote:
    Op zaterdag 13 maart 2021 om 15:55:12 UTC+1 schreef Norbert K:
    On Saturday, March 13, 2021 at 7:27:54 AM UTC-5, Emma Smulders wrote:
    Op vrijdag 12 maart 2021 om 14:28:31 UTC+1 schreef Norbert K:
    On Friday, March 12, 2021 at 7:01:25 AM UTC-5, Emma Smulders wrote:
    Op donderdag 11 maart 2021 om 16:12:19 UTC+1 schreef Norbert K:
    On Wednesday, April 7, 1999 at 3:00:00 AM UTC-4, rig...@my-dejanews.com wrote:
    Here are excerpts from the interview in "Beatlefan" with producer Jack
    Douglas.
    Read it and weep, Yoko defenders and brown noses.
    Lennon's Last Sessions
    Producer Jack Douglas on Recording 'Double Fantasy.'
    When John Lennon and Yoko Ono decided to return to the recording studio in
    1980, they enlisted an old cohort to produce the sessions. In this revealing
    conversation, he tells Ken Sharp what it was like ....
    Producer-engineer Jack Douglas was known primarily for his work with
    Aerosmith and Cheap Trick before he got a mysterious phone call in 1980 that
    launched him into John Lennon's 'comeback' recording sessions - also his
    final sessions, as it turned out. Contributing Editor Ken Sharp talked with
    Douglas recently about those sessions and Lennon's work with Cheap Trick- one
    track of which is included in the new 'John Lennon Anthology' box set ...
    Q: I want to get into the Lennon "Double Fantasy" sessions, but I didn't
    realize that you'd worked with John prior to that on, was it, the "Imagine"
    album or the song "Imagine"?
    A: The "Imagine" album.
    Q: You engineered some of that?
    A: Yeah. Well, I was second engineer. Roy Cicala was first engineer but
    that was where I met John.
    Q: What was that like working with John back then?
    A: It was amazing and it's so weird because we got to be friends. I was
    working in one studio; I was doing editing while he was tracking in another
    room and doing vocals. I mean, there was no way I was allowed to do vocals
    with him. I was way too young but he came in and I was putting stuff
    together and editing and he said to me "How ya doing?" You know, I'd met him
    earlier in the day but this was the first day and I said "OK, OK.' I wanted
    to be nervous but like I said, he wouldn't let you be. And he lit up a smoke
    and I said to him "I've been to Liverpool" and he looked at me and said "why
    the hell would you have been to Liverpool?" and I said well, you want to
    hear this story?
    Q: Is this the one on the boat? [As a young musician, Douglas and a friend
    stowed away on a boat In order to get to Liverpool, only to be caught and
    written up in British newspapers.]
    A:Yeah. I told him that story. And he, like, cracked up, he was cracking up
    'cause they'd read the papers about these idiots who were held captive on
    this boat ... after that, he said "What are you doing?" I said, "Well, after
    this?" He goes, "Yeah". I said "Nothing." He goes, "You can come with me.'
    So we went out, you know, and he took me to a party and he was like - see, I
    told him I was born and raised in New York, and he would say to me, "See that
    guy over there?" "Yeah" and if I knew him, he'd say, "Well, who is he? What
    is he?" I'd say, "Well ... that guy's an asshole. Don't even go near him.
    He'll fuck and suck your blood." "Thanks, man." It was like one of those kind
    of things.
    Q: So you continued the friendship through the' 70s?
    A: Yeah, all through it. And, in fact, I was staying with him out in L.A.
    during the crazy period (the so-called 'Lost Weekend") while I was producing
    Alice Cooper.
    Q: Oh, okay "Muscle Love"?
    A: "Muscle Love", yeah. And so I was hanging, I was hanging with him and I
    was doing Yoko records. All those crazy records with Yoko during which John
    was most of the time not allowed in the studio. Q: Really.
    A: Yeah. You know, I never let those two…very rarely when I did "Double
    Fantasy" did I ever have them in the room at the same time.
    Q: Why?
    A: It just didn't work. John always wanted to get in to Yoko's stuff and she
    could not bear it. It was already . . . there was already too much
    competition between those two.
    Q: You really think there was, even then?
    A: Yeah. Absolutely. And so it was, it just was when John came in and heard
    what she did after it was done, it was like 'Yeah!" he'd get really excited.
    But if he was there ...
    Q: Would she be excited, conversely, with what he did?
    A: Nah, "That's good, John", you know. But, yeah, he was always good. For
    her, getting her part done was the biggest challenge, you know. And I mean,
    he was just ... I mean, for me, he was the ultimate guy to produce because he
    was such a true professional. He always left his ego outside the door when
    he came into work.
    Q: What was he like as a player?
    A: He was a great rhythm player. He could not play lead to save his life.
    Very small hands, so he had no reach at all. But man, rhythm ...
    Q: How did you get enlisted to produce "Double Fantasy" and wasn't It a secret
    for awhile? If you can talk about how it was kept hush-hush ...
    A: Yeah. How did I get ... I think I ran into John about six months before
    we did that record, maybe almost a year. I was in a health food store over
    on the East Side and in comes John and Sean, who was maybe 3. And the nanny
    and they were just coming from the YMCA where they'd been swimming. And John
    comes up and goes 'Hey, Jack' and I hadn't seen him in years. "Jack, how ya
    doing? What's happening? Oh, you're a big producer now.' He was always
    kidding me, or goofing with me. And I was goofing back with him. And he
    told me, 'Why don't you call me?" Gave me his number, and he said "Come on
    over to the Dakota and hang out' and I just, I took the number and I stuck it
    in my pocket and my wife said to me, 'Wow, that s great, he wants you to come
    over and hang out and stuff, 'And I said 'Yeah, I'll do it, you know, but,
    you know, maybe he was, I mean, he's so involved with his family now and he's
    kinda out of the business. I'll call him sometime.' I never did. I never
    did. Stupid, too, isn't it?
    Q: Damn, If John Lennon gave me his phone number ...
    A: And I never, I never called him. I always felt like 'I don't want to
    really bother him," you know and It turns out he would have liked to have
    gotten that call and it was really stupid of me not to do it but anyway the
    thing was John was - we had a relationship and it was a good, trusting
    relationship and also I had that same relationship with Yoko. She also
    trusted me; she knew that I respected her work. And that I was a trustworthy
    person and John, I once asked him, I said -well into the album, we're sitting
    there and mixing and I said to him "I meant to ask you, why am I doing this
    record with you?' I said, "I just wanted to know..."He said, "Because you
    have good antenna and that works for me because you always can read me, you
    know what this is about' and that s pretty cool because I always felt that
    was one of my strong points but it was very important to him to be able to so
    easily communicate with his producer. And again, like I said, because he was
    so without ago when he was working, he would just take a direction- If I told
    John, 'For this vocal, I need you to stand on your head," he'd say, 'if you
    think that's better, I'll do it.' I mean, he was like that.

    Q: Were there any tracks that took a bit more time for him to nail?
    A: I don't remember. Sure ... they all took about an equal amount of time.
    "Beautiful Boy" maybe took a little bit longer because of the chorus. Then
    he would double. He would double track his vocal, like in Beautiful Boy,
    like he would double. First shot. He loved doubling. Yeah, he was the
    perfect doubler. But you know, he doubled because he hated the sound of his
    voice. And I used to tell him, 'John, you don't have to double." I mean,
    when he sent me the demos from Bermuda - you have to understand that these
    are recorded on a boom box, right, a Panasonic, and it was just acoustic
    guitar or in one case, piano on 'Real Love' and him and I think, Fred Seaman,
    banging on pots and pans, and he actually took the time to play those from
    one Panasonic to another one and double his vocal because he couldn't bear
    that - I would hear these things with a single vocal.
    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.
    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 ...
    Q: Of her songs?
    A: Yeah, a stack. I mean, she'd been in the Record Plant with Elephants
    Memory, doing demos ... I wonder where those demos are; some of them were
    very cool. And just a stack of not cassettes, of 5-inch reels, of seven and a
    half, dozens and dozens of songs. And I was like shook up, 'You gonna have a
    couple of tunes on this record?' Handing me stacks and John finally called me
    and he said, you know, "I don't really think I have that much stuff, you
    know.' He eventually sent me another one. He said, "I think if s kind of the
    same old shit' and actually that is on the tape, him saying that. 'Most of
    it, I think we'll give to Ringo" and 'The deal is, I don't know if this is
    really going to come off.' He said, 'I'm going to give it a try but, Jack,
    I've been out of it for a while and I don't even know what's going on. . So
    the deal was put together a band, arrange the songs any way I thought would
    work, I mean, as you know, if you've heard any of those things that are out
    around, you know, that things like ... 'Watching the Wheels" was like
    boom-jang, boom-jang, it was like fast, and almost Dylany and stuff. And he
    wrote me a letter saying, 'Can you make it sound circular?' You know, it was
    all these instructions I got from him and the deal was 'Don't tell anyone
    this is happening.' We put together the band.
    Q: I was curious about why you chose some of those players.

    A: I wanted guys that were - well, he knew Hughie [McCracken), anyway. And he
    knew (Andy Newmark] and he'd played with him. So these were guys who were his
    contemporaries. So the important thing for me there was if John made a
    reference to something that was maybe from the early '60s, or even the '50s
    these were guys who would know what he was talking about.
    Q: Quick.
    A: Yeah, quick was very important. I did not want guys who went "duh' and I
    also needed
    guys who could read. You know, the only guy who couldn't read was Ed [Slick].
    And I brought in Ed because he'd done such fine work with David Bowie.
    A: Let me just go back a little bit ... now the band didn't know, had no idea
    who they were - Tony Davilio and I did all the charts for all the songs
    except for 'Starting Over, which did not exist at that time, just didn't
    exist. So I'm singing all of the songs to the band at rehearsal an octave
    lower than he would sing 'am. And they're like 'Wow, great songs, Jack, but
    really, the vocals, I mean, who's singing these things?" Apparently, a couple
    of the guys had guessed but didn't say anything because I told them, you
    know, this is a secret session. They all loved it. The pay was good.
    They're all getting double.
    Q: Of the scale?
    A: Yeah. The same with the studio. I booked the time but they didn't know
    who for.
    Q: The Hit Factory, right?
    A: It was way out west. . . it was out of the way. No one would know. We
    could go in and out of there without ever being seen.
    Q: So what was it like when he first walked In? A: Well, there was one more rehearsal, the last, the night before the
    sessions, the last rehearsal was at the Dakota. He sits down at the Fender
    Rhodes and he plays "Starting Over" and I said, "Where'd that come from?" He
    said, "Oh, I dunno, it just kinda came.' He said, "You think it'll make it to
    this record?" I said, "Make it? " I said, "It's gonna be the first single."
    I said, "It's gotta be the first song on the record. You know, come on, it's
    perfect." So we recorded that, we went in and rehearsed that in the studio
    ...
    Q: It's the first track you recorded?
    A: The first track we recorded. And it just went down. Now, all this time,
    we're in there, we were in there a month before there was any acknowledgement
    that these sessions were going on. Here was the deal: If word got out that
    these things were happening, it was over; it was gonna end. So, I mean, I'd
    tell that to the musicians ...
    Q: Why was it so secretive?
    A: Because he wasn't sure if he could do it. You know, he was very, very
    insecure about this stuff. He didn't think he had it any more, you know. He
    thought he was too old, he just couldn't write, he couldn't sing, he couldn't
    play, nothing.
    Q: Do you think once he started playing again with the band ...
    A: It took awhile, it took awhile, there were some moments there where yeah,
    he was like, "I don't know. . ." I used to have breakfast with him every
    morning, he insisted at 9 a.m. I'd come to the Dakota and he was always so
    punctual. 9 a.m., he came out his door and we would walk from the Dakota to
    La Fortuna on 71st Street, a little cafe. We'd sit in the back, in the
    garden, and have chocolate iced cappucinos and talk over what happened last
    night, what was gonna happen, what was going on with Yoko, everything. And
    then, he'd go back and he'd like take a nap and by 11 o'clock I'd working
    with Yoko. But we'd sit there couple of hours and talk through every and
    there were moments at La Fortuna when I had to say, "John, really, I swear,
    it's good know, it's good, I'm telling ya. Even the vocals, everything, you
    sound great.'

    Q: What do you remember about the last thing you said to John or what did he
    say to you?
    A: The last thing I said to him and he said to me was "I'll see you in the
    morning at 9 a.m.' The usual. We were going to meet and then we were
    mastering that next morning. We were going to master 'Walking on Thin Ice".
    It was done. We'd finished the mix so, I mean, I said goodbye to him. I saw
    him with this huge, with this big smile on his face and his new leather
    jacket that he'd gotten at The Gap a few weeks earlier which he loved, and
    there's just this big smile on his face, "I'll see you in the morning."
    Q: How long after did you hear [that he'd been shot]?
    A: About 45 minutes later.
    Q: How did you hear about it?
    A: My wife came in and told me. We lived only a few blocks [away].
    Q: You must have thought you were hallucinating ...
    A: I absolutely did that. I thought I was hallucinating for a good six
    months, good six months, it was like, gone - it wasn't a good six months, a
    bad six months.
    Q: Yeah, of course, of course.
    A: I mean, I just flipped out.
    Q: What happened after, there was a lawsuit at some point because you weren't
    paid royalties? Did that get straightened out? You got paid finally.
    A: Yeah, yeah. Boy, what that was. 'Cause I waited like, two years, three
    years. I had a contract. I waited like three years then I finally said to
    Yoko, you know, 'It's like really like a lot of royalties probably accruing
    here. You know, I think it's time like we maybe have ... accountants, have
    somebody, you know, you don't have to deal with it, let's just sort it out,
    let our people sort it out.' And I got like a nasty letter. Almost like
    "Fuck you, you're not getting anything." And it was like "What? I don't get
    this." And, I mean, all kinds of nasty business went down after that, you
    know, being followed and having people offered money to say bad things about
    me. None of which, even if they had succeeded, I mean, Cheap Trick was
    approached, none of those things ...
    Q: To say bad things about you?
    A: Yeah, yeah.
    Q: By her? By someone in ...
    A: Yeah, someone In her camp, ex -FBI guys, Elliot Mintz.
    Q: What do you think of him?
    A: Ugh. I'm not an Elliot fan. You doesn't like me; I don't like him ...
    weird because John, you know, didn't have one good word for Elliot. Sorry,
    Elliot. It's like, if Elliot was coming, John was like 'ugh'. He was more
    Yoko's friend. Yeah. I can remember Elliot coming by r place, you know.
    Someone brought him their not knowing that it was not a good idea but I came
    up and it was a house I had in the Hollywood Hills ... I was doing some
    records out there. And I so treasured these great pictures that I had, of
    John and 1, that I would take them with me when I was traveling. I was going
    to spend six months in a house in Los Angeles so in my little office I had
    pictures of John and 1. Amazing picture of John and I listening to 'Starting
    Over' for the first time, [while finishing up 'Double Fantasy'] somebody from
    the maintenance shop, because we released it as [an advance] single.
    Somebody from maintenance said 'Hey, they're playing 'Starting Over on the
    radio." John and I went running into the maintenance shop and we're both
    standing like dumbfounded, like with these stupid smiles, like kids,
    listening to 'Starting Over" and there's a little radio, me and John leaning
    over it, unopposed just like kids and somebody took a snap of it and so I had
    all these pictures and someone brought Elliot by and Elliot saw these
    pictures around my place ...
    My place was burglarized and you know what they stole? Pictures. That's
    all. All the pictures were gone. Every picture I had. There must have been
    a dozen, really beautiful. That's strange.
    I mean, all my gold and platinum records ended up in a closet at Yoko's. I
    never got them! Well, somebody [took] one out and gave it to me as a birthday
    present. They gave me a platinum single and a platinum record.
    Q: But you worked on the record, you were very loyal.
    A: One day, I asked someone, I'm not gonna mention the name because he's
    still working, a loyal employee, who was also a good friend, and I asked him,
    "What's the story up there?" and he said, 'I don't know, Jack, for some
    reason you are on the enemies list.' And all I could ever think of was that I
    knew too much. And that it would be better - she suspected that everyone who
    knew a lot over the years was gonna write a book, you know, and that I would
    be one of these people who wrote a book and like tried to make money off it.
    Q: And you still haven't.
    A: You know, I made enough just in the royalties, [they] were like 3 million
    bucks. It was like ridiculous and she really lost a good friend because I
    was really a friend to her and I really respected her art. And she always
    knew that, so she really lost a good friend. I pleaded with her over and
    over again every time that we could see each other where I could get a word
    in, 'Yoko, don't go to court. This is so silly, let's not go to court. And
    when we did, it was a big public to-do. And she really was, I mean, it was a
    jury trial, six in the civilize, and the jury was out five minutes, came back
    in and the judge screamed at her, and it was like all this. Like how can you
    do - it was a matter with the contract. Like she tried to say the contract

    [continued in next message]

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    * Origin: fsxNet Usenet Gateway (21:1/5)
  • From Norbert K@21:1/5 to Emma Smulders on Sat Dec 4 06:37:28 2021
    On Sunday, March 14, 2021 at 9:18:32 AM UTC-4, Emma Smulders wrote:
    Op zondag 14 maart 2021 om 12:48:49 UTC+1 schreef Norbert K:
    On Saturday, March 13, 2021 at 8:33:42 PM UTC-5, Emma Smulders wrote:
    Op zaterdag 13 maart 2021 om 15:55:12 UTC+1 schreef Norbert K:
    On Saturday, March 13, 2021 at 7:27:54 AM UTC-5, Emma Smulders wrote:
    Op vrijdag 12 maart 2021 om 14:28:31 UTC+1 schreef Norbert K:
    On Friday, March 12, 2021 at 7:01:25 AM UTC-5, Emma Smulders wrote:
    Op donderdag 11 maart 2021 om 16:12:19 UTC+1 schreef Norbert K:
    On Wednesday, April 7, 1999 at 3:00:00 AM UTC-4, rig...@my-dejanews.com wrote:
    Here are excerpts from the interview in "Beatlefan" with producer Jack
    Douglas.
    Read it and weep, Yoko defenders and brown noses.
    Lennon's Last Sessions
    Producer Jack Douglas on Recording 'Double Fantasy.'
    When John Lennon and Yoko Ono decided to return to the recording studio in
    1980, they enlisted an old cohort to produce the sessions. In this revealing
    conversation, he tells Ken Sharp what it was like .... Producer-engineer Jack Douglas was known primarily for his work with
    Aerosmith and Cheap Trick before he got a mysterious phone call in 1980 that
    launched him into John Lennon's 'comeback' recording sessions - also his
    final sessions, as it turned out. Contributing Editor Ken Sharp talked with
    Douglas recently about those sessions and Lennon's work with Cheap Trick- one
    track of which is included in the new 'John Lennon Anthology' box set ...
    Q: I want to get into the Lennon "Double Fantasy" sessions, but I didn't
    realize that you'd worked with John prior to that on, was it, the "Imagine"
    album or the song "Imagine"?
    A: The "Imagine" album.
    Q: You engineered some of that?
    A: Yeah. Well, I was second engineer. Roy Cicala was first engineer but
    that was where I met John.
    Q: What was that like working with John back then?
    A: It was amazing and it's so weird because we got to be friends. I was
    working in one studio; I was doing editing while he was tracking in another
    room and doing vocals. I mean, there was no way I was allowed to do vocals
    with him. I was way too young but he came in and I was putting stuff
    together and editing and he said to me "How ya doing?" You know, I'd met him
    earlier in the day but this was the first day and I said "OK, OK.' I wanted
    to be nervous but like I said, he wouldn't let you be. And he lit up a smoke
    and I said to him "I've been to Liverpool" and he looked at me and said "why
    the hell would you have been to Liverpool?" and I said well, you want to
    hear this story?
    Q: Is this the one on the boat? [As a young musician, Douglas and a friend
    stowed away on a boat In order to get to Liverpool, only to be caught and
    written up in British newspapers.]
    A:Yeah. I told him that story. And he, like, cracked up, he was cracking up
    'cause they'd read the papers about these idiots who were held captive on
    this boat ... after that, he said "What are you doing?" I said, "Well, after
    this?" He goes, "Yeah". I said "Nothing." He goes, "You can come with me.'
    So we went out, you know, and he took me to a party and he was like - see, I
    told him I was born and raised in New York, and he would say to me, "See that
    guy over there?" "Yeah" and if I knew him, he'd say, "Well, who is he? What
    is he?" I'd say, "Well ... that guy's an asshole. Don't even go near him.
    He'll fuck and suck your blood." "Thanks, man." It was like one of those kind
    of things.
    Q: So you continued the friendship through the' 70s?
    A: Yeah, all through it. And, in fact, I was staying with him out in L.A.
    during the crazy period (the so-called 'Lost Weekend") while I was producing
    Alice Cooper.
    Q: Oh, okay "Muscle Love"?
    A: "Muscle Love", yeah. And so I was hanging, I was hanging with him and I
    was doing Yoko records. All those crazy records with Yoko during which John
    was most of the time not allowed in the studio.
    Q: Really.
    A: Yeah. You know, I never let those two…very rarely when I did "Double
    Fantasy" did I ever have them in the room at the same time. Q: Why?
    A: It just didn't work. John always wanted to get in to Yoko's stuff and she
    could not bear it. It was already . . . there was already too much
    competition between those two.
    Q: You really think there was, even then?
    A: Yeah. Absolutely. And so it was, it just was when John came in and heard
    what she did after it was done, it was like 'Yeah!" he'd get really excited.
    But if he was there ...
    Q: Would she be excited, conversely, with what he did?
    A: Nah, "That's good, John", you know. But, yeah, he was always good. For
    her, getting her part done was the biggest challenge, you know. And I mean,
    he was just ... I mean, for me, he was the ultimate guy to produce because he
    was such a true professional. He always left his ego outside the door when
    he came into work.
    Q: What was he like as a player?
    A: He was a great rhythm player. He could not play lead to save his life.
    Very small hands, so he had no reach at all. But man, rhythm ...
    Q: How did you get enlisted to produce "Double Fantasy" and wasn't It a secret
    for awhile? If you can talk about how it was kept hush-hush ...
    A: Yeah. How did I get ... I think I ran into John about six months before
    we did that record, maybe almost a year. I was in a health food store over
    on the East Side and in comes John and Sean, who was maybe 3. And the nanny
    and they were just coming from the YMCA where they'd been swimming. And John
    comes up and goes 'Hey, Jack' and I hadn't seen him in years. "Jack, how ya
    doing? What's happening? Oh, you're a big producer now.' He was always
    kidding me, or goofing with me. And I was goofing back with him. And he
    told me, 'Why don't you call me?" Gave me his number, and he said "Come on
    over to the Dakota and hang out' and I just, I took the number and I stuck it
    in my pocket and my wife said to me, 'Wow, that s great, he wants you to come
    over and hang out and stuff, 'And I said 'Yeah, I'll do it, you know, but,
    you know, maybe he was, I mean, he's so involved with his family now and he's
    kinda out of the business. I'll call him sometime.' I never did. I never
    did. Stupid, too, isn't it?
    Q: Damn, If John Lennon gave me his phone number ...
    A: And I never, I never called him. I always felt like 'I don't want to
    really bother him," you know and It turns out he would have liked to have
    gotten that call and it was really stupid of me not to do it but anyway the
    thing was John was - we had a relationship and it was a good, trusting
    relationship and also I had that same relationship with Yoko. She also
    trusted me; she knew that I respected her work. And that I was a trustworthy
    person and John, I once asked him, I said -well into the album, we're sitting
    there and mixing and I said to him "I meant to ask you, why am I doing this
    record with you?' I said, "I just wanted to know..."He said, "Because you
    have good antenna and that works for me because you always can read me, you
    know what this is about' and that s pretty cool because I always felt that
    was one of my strong points but it was very important to him to be able to so
    easily communicate with his producer. And again, like I said, because he was
    so without ago when he was working, he would just take a direction- If I told
    John, 'For this vocal, I need you to stand on your head," he'd say, 'if you
    think that's better, I'll do it.' I mean, he was like that.

    Q: Were there any tracks that took a bit more time for him to nail?
    A: I don't remember. Sure ... they all took about an equal amount of time.
    "Beautiful Boy" maybe took a little bit longer because of the chorus. Then
    he would double. He would double track his vocal, like in Beautiful Boy,
    like he would double. First shot. He loved doubling. Yeah, he was the
    perfect doubler. But you know, he doubled because he hated the sound of his
    voice. And I used to tell him, 'John, you don't have to double." I mean,
    when he sent me the demos from Bermuda - you have to understand that these
    are recorded on a boom box, right, a Panasonic, and it was just acoustic
    guitar or in one case, piano on 'Real Love' and him and I think, Fred Seaman,
    banging on pots and pans, and he actually took the time to play those from
    one Panasonic to another one and double his vocal because he couldn't bear
    that - I would hear these things with a single vocal.
    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.
    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 ...
    Q: Of her songs?
    A: Yeah, a stack. I mean, she'd been in the Record Plant with Elephants
    Memory, doing demos ... I wonder where those demos are; some of them were
    very cool. And just a stack of not cassettes, of 5-inch reels, of seven and a
    half, dozens and dozens of songs. And I was like shook up, 'You gonna have a
    couple of tunes on this record?' Handing me stacks and John finally called me
    and he said, you know, "I don't really think I have that much stuff, you
    know.' He eventually sent me another one. He said, "I think if s kind of the
    same old shit' and actually that is on the tape, him saying that. 'Most of
    it, I think we'll give to Ringo" and 'The deal is, I don't know if this is
    really going to come off.' He said, 'I'm going to give it a try but, Jack,
    I've been out of it for a while and I don't even know what's going on. . So
    the deal was put together a band, arrange the songs any way I thought would
    work, I mean, as you know, if you've heard any of those things that are out
    around, you know, that things like ... 'Watching the Wheels" was like
    boom-jang, boom-jang, it was like fast, and almost Dylany and stuff. And he
    wrote me a letter saying, 'Can you make it sound circular?' You know, it was
    all these instructions I got from him and the deal was 'Don't tell anyone
    this is happening.' We put together the band.
    Q: I was curious about why you chose some of those players.

    A: I wanted guys that were - well, he knew Hughie [McCracken), anyway. And he
    knew (Andy Newmark] and he'd played with him. So these were guys who were his
    contemporaries. So the important thing for me there was if John made a
    reference to something that was maybe from the early '60s, or even the '50s
    these were guys who would know what he was talking about.
    Q: Quick.
    A: Yeah, quick was very important. I did not want guys who went "duh' and I
    also needed
    guys who could read. You know, the only guy who couldn't read was Ed [Slick].
    And I brought in Ed because he'd done such fine work with David Bowie.
    A: Let me just go back a little bit ... now the band didn't know, had no idea
    who they were - Tony Davilio and I did all the charts for all the songs
    except for 'Starting Over, which did not exist at that time, just didn't
    exist. So I'm singing all of the songs to the band at rehearsal an octave
    lower than he would sing 'am. And they're like 'Wow, great songs, Jack, but
    really, the vocals, I mean, who's singing these things?" Apparently, a couple
    of the guys had guessed but didn't say anything because I told them, you
    know, this is a secret session. They all loved it. The pay was good.
    They're all getting double.
    Q: Of the scale?
    A: Yeah. The same with the studio. I booked the time but they didn't know
    who for.
    Q: The Hit Factory, right?
    A: It was way out west. . . it was out of the way. No one would know. We
    could go in and out of there without ever being seen.
    Q: So what was it like when he first walked In?
    A: Well, there was one more rehearsal, the last, the night before the
    sessions, the last rehearsal was at the Dakota. He sits down at the Fender
    Rhodes and he plays "Starting Over" and I said, "Where'd that come from?" He
    said, "Oh, I dunno, it just kinda came.' He said, "You think it'll make it to
    this record?" I said, "Make it? " I said, "It's gonna be the first single."
    I said, "It's gotta be the first song on the record. You know, come on, it's
    perfect." So we recorded that, we went in and rehearsed that in the studio
    ...
    Q: It's the first track you recorded?
    A: The first track we recorded. And it just went down. Now, all this time,
    we're in there, we were in there a month before there was any acknowledgement
    that these sessions were going on. Here was the deal: If word got out that
    these things were happening, it was over; it was gonna end. So, I mean, I'd
    tell that to the musicians ...
    Q: Why was it so secretive?
    A: Because he wasn't sure if he could do it. You know, he was very, very
    insecure about this stuff. He didn't think he had it any more, you know. He
    thought he was too old, he just couldn't write, he couldn't sing, he couldn't
    play, nothing.
    Q: Do you think once he started playing again with the band ...
    A: It took awhile, it took awhile, there were some moments there where yeah,
    he was like, "I don't know. . ." I used to have breakfast with him every
    morning, he insisted at 9 a.m. I'd come to the Dakota and he was always so
    punctual. 9 a.m., he came out his door and we would walk from the Dakota to
    La Fortuna on 71st Street, a little cafe. We'd sit in the back, in the
    garden, and have chocolate iced cappucinos and talk over what happened last
    night, what was gonna happen, what was going on with Yoko, everything. And
    then, he'd go back and he'd like take a nap and by 11 o'clock I'd working
    with Yoko. But we'd sit there couple of hours and talk through every and
    there were moments at La Fortuna when I had to say, "John, really, I swear,
    it's good know, it's good, I'm telling ya. Even the vocals, everything, you
    sound great.'

    Q: What do you remember about the last thing you said to John or what did he
    say to you?
    A: The last thing I said to him and he said to me was "I'll see you in the
    morning at 9 a.m.' The usual. We were going to meet and then we were
    mastering that next morning. We were going to master 'Walking on Thin Ice".
    It was done. We'd finished the mix so, I mean, I said goodbye to him. I saw
    him with this huge, with this big smile on his face and his new leather
    jacket that he'd gotten at The Gap a few weeks earlier which he loved, and
    there's just this big smile on his face, "I'll see you in the morning."
    Q: How long after did you hear [that he'd been shot]?
    A: About 45 minutes later.
    Q: How did you hear about it?
    A: My wife came in and told me. We lived only a few blocks [away].
    Q: You must have thought you were hallucinating ...
    A: I absolutely did that. I thought I was hallucinating for a good six
    months, good six months, it was like, gone - it wasn't a good six months, a
    bad six months.
    Q: Yeah, of course, of course.
    A: I mean, I just flipped out.
    Q: What happened after, there was a lawsuit at some point because you weren't
    paid royalties? Did that get straightened out? You got paid finally.
    A: Yeah, yeah. Boy, what that was. 'Cause I waited like, two years, three
    years. I had a contract. I waited like three years then I finally said to
    Yoko, you know, 'It's like really like a lot of royalties probably accruing
    here. You know, I think it's time like we maybe have ... accountants, have
    somebody, you know, you don't have to deal with it, let's just sort it out,
    let our people sort it out.' And I got like a nasty letter. Almost like
    "Fuck you, you're not getting anything." And it was like "What? I don't get
    this." And, I mean, all kinds of nasty business went down after that, you
    know, being followed and having people offered money to say bad things about
    me. None of which, even if they had succeeded, I mean, Cheap Trick was
    approached, none of those things ...
    Q: To say bad things about you?
    A: Yeah, yeah.
    Q: By her? By someone in ...
    A: Yeah, someone In her camp, ex -FBI guys, Elliot Mintz.
    Q: What do you think of him?
    A: Ugh. I'm not an Elliot fan. You doesn't like me; I don't like him ...
    weird because John, you know, didn't have one good word for Elliot. Sorry,
    Elliot. It's like, if Elliot was coming, John was like 'ugh'. He was more
    Yoko's friend. Yeah. I can remember Elliot coming by r place, you know.
    Someone brought him their not knowing that it was not a good idea but I came
    up and it was a house I had in the Hollywood Hills ... I was doing some
    records out there. And I so treasured these great pictures that I had, of
    John and 1, that I would take them with me when I was traveling. I was going
    to spend six months in a house in Los Angeles so in my little office I had
    pictures of John and 1. Amazing picture of John and I listening to 'Starting
    Over' for the first time, [while finishing up 'Double Fantasy'] somebody from
    the maintenance shop, because we released it as [an advance] single.
    Somebody from maintenance said 'Hey, they're playing 'Starting Over on the
    radio." John and I went running into the maintenance shop and we're both
    standing like dumbfounded, like with these stupid smiles, like kids,
    listening to 'Starting Over" and there's a little radio, me and John leaning
    over it, unopposed just like kids and somebody took a snap of it and so I had
    all these pictures and someone brought Elliot by and Elliot saw these
    pictures around my place ...
    My place was burglarized and you know what they stole? Pictures. That's
    all. All the pictures were gone. Every picture I had. There must have been
    a dozen, really beautiful. That's strange.
    I mean, all my gold and platinum records ended up in a closet at Yoko's. I
    never got them! Well, somebody [took] one out and gave it to me as a birthday
    present. They gave me a platinum single and a platinum record.
    Q: But you worked on the record, you were very loyal.
    A: One day, I asked someone, I'm not gonna mention the name because he's
    still working, a loyal employee, who was also a good friend, and I asked him,
    "What's the story up there?" and he said, 'I don't know, Jack, for some
    reason you are on the enemies list.' And all I could ever think of was that I
    knew too much. And that it would be better - she suspected that everyone who
    knew a lot over the years was gonna write a book, you know, and that I would
    be one of these people who wrote a book and like tried to make money off it.
    Q: And you still haven't.
    A: You know, I made enough just in the royalties, [they] were like 3 million
    bucks. It was like ridiculous and she really lost a good friend because I
    was really a friend to her and I really respected her art. And she always
    knew that, so she really lost a good friend. I pleaded with her over and
    over again every time that we could see each other where I could get a word
    in, 'Yoko, don't go to court. This is so silly, let's not go to court. And
    when we did, it was a big public to-do. And she really was, I mean, it was a
    jury trial, six in the civilize, and the jury was out five minutes, came back
    in and the judge screamed at her, and it was like all this. Like how can you
    do - it was a matter with the contract. Like she tried to say the contract
    was a forgery, all this really weird stuff, brought in people to say that I
    ... people like [Rolling Stone publisher] Jann
    Wenner to say that I was a nobody, that they'd never heard of me ... and then
    my lawyer said "Can we talk about how many times you've mentioned him in your
    magazine?"... He made Jann read those on the stand.
    Q: John was talking about touring?
    A: Oh, yeah, yeah.
    Q: What was his plan?
    A Oh, tremendous production, including and these have to be on some of the
    "Lost Lennon Tapes" or whatever they call them his arrangements of songs that
    he said 'we never got right,' which were "She Loves You" and "I Want to Hold
    Your Hand".
    Q: He was gonna do them?
    A: Yeah, he was gonna do them. He was going, "You know, we never - we always
    wanted to do something like ... but it never got done exactly the way we
    wanted to do it."
    Q: You remember how he wanted to do some of those songs?
    A: He played them on guitar.
    Q: And how were they different?
    A: Maybe the tempo was a little different but it was more like ideas he had
    for what the rest of the band was gonna do. But that was gonna -be in the
    show.
    Q: He was gonna do some Beetle songs?
    A: Oh, yeah, absolutely.
    Q: I heard that McCartney or Harrison called the studio during the sessions
    and Yoko didn't allow the call to be placed through.
    A: No, it was McCartney.
    Q: What happened?
    A: Well, from what I heard and from what I heard from John as well, he was
    looking to get. like, hooked up with Paul before Paul went o t' Japan, to do
    some writing.
    Q: They were going to write together?
    A: Yeah. And ... after the sessions, John never left immediately, he'd
    always sit in the control room and usually took a little grass. He had this
    old opium pipe, it was probably 500 years old, and he'd say to me, "is it all
    over?" 'Cause he would never do anything if we were working. And I'd say,
    "It's over, John." And he'd sit back and put his feet up on the console and
    he'd load up the pipe and sit back and light up and a few of us - I'd ride
    home with him because I only lived two blocks from him. And he'd start
    talking, you know, reminiscing about things, we'd listen to tile radio and if
    a Beatles song came on, he'd talk about it. But the one thing - the
    overwhelming feeling about the things that he was saying was that he loved
    the guys in that band more than anybody else, you know? He was pissed off at
    George because George's book had come out and didn't mention John. You know,
    like, "How can he write a book about his life and not mention me? I'm the
    most important…" Yeah. But he loved the guys in The Beatles. He loved them.
    And he loved that band. And, you know, it was like his band. And I mean,
    the way he went on about it ...
    Q: And he was gonna write with Paul?
    A: He was looking to get hooked up with Paul" yeah. But yeah, that call came
    through and that didn't happen. And Paul went off and got in trouble. And
    when he got in trouble ...
    Q: He didn't get the message from anyone?
    A: No.
    Q: Who kept him away?
    A: I think Yoko probably thought ... I can't speak for Yoko. Maybe she
    thought it'd be a distraction. I don't think it would have been.

    Q: Who knows what would have happened. But when Paul got busted for pot in
    Japan, we were in the studio, when that call came in that he was in trouble,

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