Requires cat.
385 plays


September 20th, 1974: As the guest DJ on KHJ-AM’s Superstar Week radio request segment, John toys around with the advertisements and plays tracks by his former bandmates.

JOHN: On KHJ, that was Paul! Wasn’t it good? That was one of his goodies. I wanted to play ‘Monkberry Moon Delight’ but it was too long.

JOHN: That was a great one from George, who will be touring soon on a dark horse. And now I’d like to play another cut from my new album. This is a request from Tony King of Apple, LA, and it’s called ‘Going Down On Love’…


"John’s 21st birthday was a month away, and he knew he was getting money — 100 pounds cash, more than he or Paul had ever seen in their lives. (…) Bob Wooler was party to their planning, and fought with them:

They were bored, and decided they would go away for a month. I thought this was disastrous because they would be away from the scene too long and lose their fans, Fans were very capricious: they moved from one group to another. And anyway, what about the other two members, George Harrison and Pete Best?. What about them, what do they do? We argued a lot about this — we argued in the back room of the grapes pub to a large extent —- and they said ‘Well, we’ll go away for a fortnight only’

(…) Equally, the promoters who paid the Beatles over-the-odds to present them every week had to “lump it” (….). To a man, and woman, they were incensed by it - but John and Paul hadn’t a care. They didn’t mean to be rude about it but basically it was tough shit.

it was tough too on Dot and Cyn, Dot simply had to accept the situation, but Cyn had a greater case of grievance. John was heading off without her when he could so easily gave waited for the art school holidays. (…).

That John was taking Paul, no one else, accentuates the renewed closeness since Stu quit The Beatles. They were the Beatles force, an unstoppable and authentically powerful pair. “Lennon had the attitude”, Wooler said, “and taking his lead from Lennon, McCartney could be similar. At times they reminded me of those well-to-do Chicago lads Leopold and Loeb, who killed someone because they felt superior to him. Lennon and McCartney were superior human beings”

"You’d always see them together, in the pub or walking along the street", says Johnny Gustafson of the Big Tree. "They were a duo, and seemed each other’s equal". Bernie Boyle, the young lad hanging around with them at every opportunity, says, "They were like brothers, with John as the elder and Paul’s mentor. They were so tight it was like there was a telepathy between them: on stage, they’d look at each other and know instinctively what the other was thinking"

They were brothers. They were the Nerk Twins, and now they were taking a break from The Beatles and gofin off to Spain. 

Gustafson happened to bump into them the day they left, Saturday, September 30. “They both had bowler hats on, with the usual leather jackets and jeans. They said they were off to Paris, so I walked down to Lime Street station and watched them go. They were an incredible pair: always great fun, irreverent and so close

Mark Lewishon, Tune In


Paul, John and George with Billy J Kramer in Margate, July 1963. Photo by Leslie Bryce. Scan from Beatles Book Monthy No. 143.


Paul, John and George with Billy J Kramer in Margate, July 1963. Photo by Leslie Bryce. Scan from Beatles Book Monthy No. 143.

831 plays


January 25th, 1969 (Apple Studios, London): As the band starts to meander after several imperfect and increasingly unserious rehearsals of ‘Let It Be’ (including a stray comment from Paul that prompts John and George to break into Chuck Berry’s ‘I’m Talking About You’), Paul tries to steer them back to a serious run-through. John protests in jest and, perhaps reminded of the Beatles’ improvised Christmas records, starts thanking the fans for all of the gifts they’ve sent. The next rehearsal of ‘Let It Be’ is foiled again by Paul and Ringo, however, enabling John to get into a mock-tirade about not even reaching the part of the song where he comes in (to the amusement of the group). 

PAUL: Come on now, come on now, come on now. Come on now – back to the drudgery. 

JOHN: It’s you that’s making it like this, it’s you that’s bloody making it like—

PAUL: The real meaning of Christmas. [starts playing ‘Let It Be’]

JOHN: I’d especially like to thank you for all the birthday presents…  

PAUL: There will be an answer, let it be… [falters; laughs] Then, is it— 

JOHN: Ah! 


JOHN: You shook me. [to Ringo] You stuck in another verse there, Richard. 

PAUL: Yeah. You send me.

RINGO: What?

JOHN: He’s got another verse in there, now. You come in with the flugle. 

RINGO: Alright, John!

PAUL: [laughs] You only have to pick your nose and a camera and a boom is over there… 

JOHN: Okay, this is your last chance. 

PAUL: Now look boys, now come on. Enthuse a little.

JOHN: [mock-outrage] I can’t, I don’t even get up to my bit, you keep finishing! [everyone laughs] Show up, will ya, or I’ll have you banned from bloody Apple if you don’t show up! [Paul laughs; John subdues himself] Okay, ‘Let It Be’ is where I come in… [laughter]

Still, while the Lennon and McCartney tiff made for good press, even Lennon admitted (to a Syracuse University audience, on the day of the [Imagine] album’s release), that ‘How Do You Sleep?’ was “an outburst. Things are still the same between us. He was and still is my closest friend, except for Yoko.”
Tom Zito (journalist), Washington Post: Peace, love, art and Yoko. (October 9th, 1971) c/o Kenneth Womack, The Cambridge Companion to The Beatles. (2009)

John and Paul in-frame recording a vocal overdub during the Rubber Soul sessions, EMI Studios, London, photographer unknown. (October, 1965)


John and Paul in-frame recording a vocal overdub during the Rubber Soul sessions, EMI Studios, London, photographer unknown. (October, 1965)

555 plays


January 13th, 1969 (Twickenham Film Studios, London): In the middle of a personal discussion with John and Ringo about the band, its tenuous future, and their relationships with one another, Paul (in response to John’s admission of insecurity in the face of external pressures from the public and media to perform) is emphatic about his faith in them and their abilities and contends that whatever interpersonal problems they have can be resolved, for what their music is worth. (Note: I am sheepishly and frustratedly uncertain of my transcription. And yes, Yoko and Linda seem to be having a fascinating conversation about Paul and George.)

PAUL: [trying] If all of you were for sale on a shop, I’d want you as, you know, that, but I really don’t want you as that!

JOHN: Yes.

PAUL: But I want you as that! I don’t want him as that. You see, I want you to want yours. You’re [inaudible]. Ringo wanted— When I say those things, you know, I can hear myself sort of – but I don’t know what it is you want me to do! In period and in fact, I want you all for whatever you are, because I’m placing it – after all the bests, and all it bloody does, and what’s best, is that what you are is alright. Because if it isn’t, then it’s just stupid of me [inaudible], you know. Because if it’s what you are, and I would want us anywhere! So I’m placing all the money, all the fame, and everything, on what you are. So if this is what you two are, then get on with it.

Free counters!