What was john lennons last album

We thought differently at the time about rock stars and rock music — it wasn't something you were supposed to do when you got older. So this was all new territory. Facebook Twitter Email. Show Caption. Hide Caption. John Lennon's son keeping father's legacy alive. He shed some light on Lennon's reclusive househusband years when the entire world was wondering why he had abandoned recording music: ["Y'know, seeing him, he really had dedicated himself to raising his child, he really had kind of withdrawn from the business.

He had a very, very, very intense involvement with — y'know, from the Beatles on — being managed by Allen Klein, one of the most powerful managers in the world. I think when that was finally settled in '77, when they signed off on that, and after that, he was kind of free and I think kind of enjoying not having any commitments to business and to companies.

And wanted to learn what it was like to have a life. With artists now taking prolonged absences from the music business for a multitude of reasons, in the mid-'70s, for someone of John Lennon's stature to put his recording career on pause to become a stay-at-home dad for half a decade was simply unprecedented. I got a little fear of that would come, like a paranoia.

But that only lasted about nine months and then it was suddenly, like a. I mean, there was a life without it. When Lennon sailed to Bermuda in June of , he brought along an acoustic guitar and dozens of cassette tapes, which contained fragments of songs, which eventually became " Just Like Starting Over," and "Beautiful Boy Darling Boy ," among many others. It was also while he was in Bermuda that he composed "Woman," a song he jokingly referred to as "the Beatle track" because of its intricate and soothing harmonies.

These songs, along with the already-completed "Watching The Wheels," became the foundation for the rest of Double Fantasy. Following several days of pre-production with the musicians at the couple's Upper West Side apartment the Dakota, and at S. During those sessions, they actually recorded enough material for two albums, one to be released in the autumn, and another called Milk And Honey — which according to legend was to be released in the spring of To ensure their artistic freedom, the Lennon's decided to finance the album themselves and afterwards sign with the record company with the highest offer.

They eventually signed with David Geffen 's new label, the Warner Brothers-distributed Geffen Records, for millions less than the major labels were offering — solely because his was the only label that didn't demand to hear the completed tapes first and Geffen reached out to Yoko personally.

Fred Seaman , who was Lennon's assistant throughout and watched him demo his final songs in New York and Bermuda, and had a unique view of the Double Fantasy sessions: ["In , he started thinking about recording. And then the question was 'what kind of record would this be? That was his idea, and thought about it, I think, for a long time. Once John had his cup of Brazilian coffee, which he said to me was his only remaining drug, he was flying, man.

That coffee put him right into the groove, big time. I tried a bit and almost had a heart attack. Man, that stuff was like rocket fuel. George Small: There was no slack time on the record, except when the sushi arrived at the studio.

Stan Vincent: One day we were in the studio, and the rhythm section was working hard trying to get a take. Jack Douglas: John wanted a really tight, thick and refined New York pop sound. Not terribly different from his past records, but not a raw sound. What was important to him was that he was turning 40, and he wanted a mature-ounding record. Lee DeCarlo: When you listen to the album, you can hear it breathe in and out. That adds a dimension to the way a song is breathing.

Andy Newmark: Yoko always sat in the control room when John was doing his songs. Just sitting quietly, reading, just being there, being supportive. But he did it tongue-in-cheek. Jack Douglas: Yoko said the record was supposed to be a dialogue between the two of them. For it to go off in a really strange direction would not have worked.

Yoko gave me plenty of material, so I was able to suggest the songs that we should do so it became more of a song-driven album.

Yoko Ono: John was extremely inspired during the sessions. I could deal with it. But what surprised me is that John was so supportive of my stuff. That was really surprising. Her material is very minimalistic, harmonically, so what you had to do was think more texturally when you were playing on her songs. Jack Douglas: John 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.

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… he just had the most amazing feel. But on his songs, his playing was dead on.

Lee DeCarlo: He had a great three-finger style of playing piano that was really cool and his inversions were very different from what a schooled piano player would play.

The very first day that we recorded …Starting Over he sat down and played Money. His inversions on that were so strange that it was masterful.

Tony Davilio: Before he would sing a lead vocal John would get a back massage in the little room across the hall from the studio. He said it loosened his vocal chords and he could sing better afterwards.

Then John would come in and listen back. He was the perfect doubler. Jon Smith assistant engineer : He did two drawings on legal pads while we were doing the sessions. One of them was a naked guy on a beach squatting down taking a dump. They were both done with black grease pencil. At the end of the project, when they were cleaning out the studio, I found the two drawings in the garbage. Jack Douglas: John had a song that we never recorded and I would have been listed as the co-writer.

It was called Street Of Dreams. After we left the studio we used to go to Rousseau Of London, which was the only place in New York where you could get a full English breakfast at two in the morning — grilled bread, greasy eggs, the whole bit. At the turn of the century, all of the great musicians, opera singers, and the maestros were all on the street. People from all over the world came here to break into the industry.

We started working on a chorus to an existing verse of his. It was very cool. The verse had a real Beatle-y feel. We made a little recording of it on the spot. Jon Smith: John had a business meeting the night before on 57th Street. He told us when they walked out of the building it was night-time, and the concrete on 57th Street had little pieces of glass imbedded in it.

He told us as he walked the lights would shine on these things and it would sparkle in a very magical way. He played it for us, and it was beautiful. He never recorded it as far as I know.

I always wish we could have recorded it, because I remember it being lovely. It was all big top secret because CBS was trying to sign Lennon. They had Ringo and they had Paul on the label, they wanted to get all four Beatles signed to CBS and they were battling with Geffen over it.

We flew in that morning from Montreal on our day off, before we were leaving to go on tour in Japan. We were excited but also beat. So we went into the studio and we were introduced to John and Yoko. John was smaller than I expected. So he recognized us from being in Cheap Trick, which we thought was cool.

John was really friendly. Jack Douglas: I played the demo for them and they started to jam the tune. That was a riff that John liked to play.

He felt that right away. Select basic ads. Create a personalised ads profile. Select personalised ads. Apply market research to generate audience insights. Measure content performance. Develop and improve products. List of Partners vendors. Robert Fontenot.