Persze, hogy le, de szerintem ne keresd. Ez az a korszak volt, amikor 1-2 embernek volt általános felhatalmazása (a.k.a hitbizomány) arra, hogy efféle munkákat elvégezzen. Nem hiszem, hogy örülnél egy S.Nagy vagy egy Szenes féle szövegnek. Ismertem olyat, aki azoktól sírt is. Nem olyan bonyolult egyébként a dal szövege, kérj meg valakit, hogy tegye át nagyjából, aztán dolgozz a magánhangzókkal még egy keveset. :O)))
hali emberek!hozzátok fordulnék egy kis segítségért!
szal olyan 1-2 hónapja találtam a neten egy oldalt ahol találtam jónéhány John Lennon videót(Cold Turkey,Love,Watching the wheels...többre most nem emlékszem)és az oldal lennon rajzokkal volt tele dehát természetesen elfelejtettem a címet4ha ismerős nektek a cím +írnátok ide?előre is köszi minden segítségért!Peace
http://service.bfast.com/bfast/click?bfmid=5607334&siteid=22641702&bfpid=517027&bfmtype=gear
The Gibson J-160E was the only instrument Lennon used faithfully throughout his years as as Beatle. Now Gibson, in cooperation with Yoko Ono, presents this extremely limited series of J-160E John Lennon Guitars crafted and finished to replicate Lennon's own guitars from three stages of his career. The first (on right) is the Fab Four Model (his original), the second (center) is the Magical Tour Model from the late 60s when John Lennon had his Rolls Royce, his upright piano, and his J-160E painted in psychedelic colors and patterns. The third (left) is the Bed-in Model from 1968. Lennon had the psychedelic paint job stripped off his guitar in favor of a more natural look. When John Lennon and Yoko spent their '69 honeymoon holding their first week long 'Bed-in" demonstration, sharing the bed with the couple was John's stripped J-160E. All three historic guitars have been handcrafted under the direction of master luthier Ren Ferguson, who with Yoko Ono's permission made a careful study of John Lennon's actual J-160E at the Rock and Roll Hall of Fame to prepare for these replicas. All three include hardshell cases.
http://acoustics.gibson.com/lennon/lennonmodels.jpg
Gibson Musical Instruments, in cooperation with Yoko Ono, is producing an extremely limited series of J-160E John Lennon Guitars crafted to replicate John Lennon’s very own guitars, including the J-160E on display at the Rock and Roll Hall of Fame in Cleveland, Ohio.
The Gibson J-160E was the only instrument Lennon used faithfully on recordings, in movies and for live performances. Many afficionados equate the guitar with Lennon, the Beatles and the British Invasion.
As Lennon’s life changed, so did his guitars. The limited edition series reproduces three different guitars to document three momentous periods of John’s life and music: the Fab Four Model (Lennon Model 1 on the left in the photograph), the Magical Tour Model (Lennon Model 2 in the center) and the Bed-In Model (Lennon Model 3 on the right).
All of these guitars are painstakingly hand-crafted in Bozeman, Montana under the direction of Ren Ferguson, Master Luthier. The Psychedelic finish (on the Magical Tour model) and the caricatures of John and Yoko (on the Bed-In model) are hand painted and drawn by Ren. Ren got permission from Yoko Ono to carefully handle John’s J-160E at the Rock and Roll Hall of Fame in order to take notes and draw sketches for use in the process of developing these replicas.
At the winter NAMM show where set #4 was on display, the most frequently asked question about these models was, “Is that the real thing?” The authentic details captured in this limited edition set make looking at these guitars a spine-tingling experience. Only 47 individuals worldwide will ever be able to own one of these limited edition sets.
Henry Juszkiewicz, Chairman and CEO of Gibson Musical Instruments, said "We are very proud that Gibson was John Lennon's guitar of choice, and we are grateful that Yoko Ono has worked with us in developing these very special instruments."
Horns, Horns, Horns! Released in 1975, John Lennon's album, ROCK 'N' ROLL demonstrates that the problem with records from the seventies can be summed up in one word: "Horns." In an effort to make these tracks sound as if recorded in the fifties, Phil Spector turned on the echo machine, making John's vocals indistinct. Then, in an effort to put his trademarked wall-of-sound on the album, he stuck about nine-million horns on it. I have a vinyl copy released in Britain, and it says that four cuts are produced by Phil Spector and John and that the rest is produced only by John. I do notice a difference. "Stand By Me," for example, is not produced with Phil Spector. John's vocal is not given much echo on this song, horns are absent and the instruments played are distinguishable from one another. John produced "Peggy Sue" as well and the sound is clear. John does add horns to some of the other ones he himself produced, and they are overly manic, but at least there's some drive. The tracks Lennon and Spector co-produced ("You Can't Catch Me," "Sweet Little Sixteen," "Bony Moronie" and "Just Because") are distant-sounding. The album cover is great, though; a photograph of John as a teen in the doorway of an old brick building. Other reviewers here have noted that the LENNON ANTHOLOGY has some outtakes from ROCK 'N' ROLL and I agree with them that these sound great. There are no horns on those. If the horns on ROCK 'N' ROLL could be erased, I'd love the sound of most of it. That would be like colorizing a movie, though. It wouldn't be as it was intended. Lennon's a lot like Orson Welles. Both of them have unfinished works which keep cropping up and finished works needing clearing up. But, where does restoration end and tinkering begin? As is, ROCK 'N' ROLL is worthwhile for "Stand By Me," "Peggy Sue" and "Ain't That a Shame." The rest of it is pretty depressing. (Fans take note: Cheap Trick has always said that their version of "Ain't That a Shame" is based on John's version.)
Annyit elmondhatok, ha - csak időlegesen is - bezárnának egy szobába úgy, hogy csupán a kedvenc Lennon-dalaimat hallgathatnám, nem maradnék egy napig sem életben.
Szokatlan feldolgozások, de szerintem némelyik alaposan túl lett cifrázva. Szóval én nem szeretem azt a lemezt. A Lennon-antológián van pár csupaszabb verzió, azok viszont nem rosszak.
Rock 'n' Roll was Lennon's 1975 album of covers of 1950s and 1960s rock songs, produced by Phil Spector.
Lennon did it in response to similar efforts by Bryan Ferry and David Bowie. The making of the album was torn by Lennon's personal disintegration and drug use living in Los Angeles, California separated from his wife Yoko Ono and his volatile, unstable partnership with Spector. Its release was also marred by legal complications resulting from Roulette Records head and alleged mafioso Morris Levy sueing Lennon. The album was not a success, although after Lennon's death "Stand By Me" got radio play.
a Rock'n'Roll újrakiadásának bonus track-jei:
14. Angel Baby (Bonus Track, from: “Menlove Avenue”, not remixed)
15. To Know Her Is To Love Her (Bonus Track, from: “Menlove Avenue”, not remixed)
16. Since My Baby Left Me (Bonus Track, diff. Vers. than on "Menlove Avenue")
17. Just Because (Bonus Track, Reprise)
Their sound defined a decade and spawned a thousand imitations, but a long lost jukebox owned by John Lennon has revealed that, when it came to musical inspiration, even the Beatles got by with a little help from their friends.
The 15 kg portable jukebox, owned by Lennon around 40 years ago, was bought by the late Bristol music promoter John Midwinter for just £2,500 at a Christie's sale of Beatles memorabilia in 1989. He then spent years restoring it to working order and researching its 41 discs. Listed in Lennon's handwriting, they are effectively the Desert Island Discs which helped shape his musical genius.
Among the collection of rock and roll, rhythm and blues and soul, Midwinter traced an intriguing influence on the Beatles' output. Blues performer Bobby Parker's guitar lick was 'borrowed' by the Beatles for 'I Feel Fine'. Delbert McClinton's harmonica inspired Lennon's own on 'Love Me Do'. And the high-pitched scream on 'Twist and Shout' and other tracks was copied from the Isley Brothers.
A team from The South Bank Show took the jukebox, which they dubbed 'the original iPod', across America to track down Lennon's musical heroes. Many were gratified and none accused the Beatles of plagiarism. But one said he felt his contribution deserved greater recognition.
The two surviving Beatles, Paul McCartney and Ringo Starr, declined to take part, to the frustration of the programme's makers.
Lennon is believed to have bought the Swiss-made KB Discomatic jukebox in 1965 but some of the records date from several years earlier. He is thought to have left it behind when he moved to America, possibly at the Abbey Road studios. It passed through private hands before reaching Midwinter, who played it each year on the anniversary of Lennon's death. Midwinter died of throat cancer at the age of 57, just two days before he could be told his ambition of a TV documentary about the jukebox would be realised.
Artists featured on the jukebox include the Animals, Chuck Berry, Bob Dylan, Buddy Holly, Little Richard, Smokey Robinson and Gene Vincent. There are no Beatles records and only one sung by a woman, Fontella Bass's 'Rescue Me'. In Lennon's rough and ready scrawl, with gaps and crossings out, The Lovin' Spoonful become 'The Lovin's Spoonfuls' and Otis Redding is 'Ottis Redding'.
John Sebastian of The Lovin' Spoonful, whose 'Daydream' is on the jukebox, says: 'A few years ago a friend of mine sent me this recorded tape of the Beatles rehearsing, and there is this fragment where John is working his way through "Daydream". There were a couple of problems, and if you listen carefully you can hear him say, 'Damn tunesmiths!'
'Sir Paul graciously said that "Daydream" played heavily in the creation of "Good Day Sunshine", so to have influenced those boys is a wonderful thing for a songwriter because of course they influenced me, they influenced all of us.'
Folk musician Donovan tells the programme: 'In May 1965 amazing things were happening. The folk music world would soon infiltrate the pop culture, and it moves me because on the jukebox is my third single, "Turquoise".
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When we were in India, John said: "How do you do that?" I said, "What?" He said: "That stuff with your fingers." I said, "It's a pattern." Three days later he had learnt it and a whole new world opened up for his songwriting. "Dear Prudence, won't you come out to play..." Prudence was Mia Farrow's sister.'
Another track is the Isley Brothers' 'Twist and Shout', which the Beatles covered. Lennon admitted: 'The "Oooooooh!" was taken from the Isley Brothers on "Twist and Shout", which we stuck in everything - "From Me to You", "She Loves You"... they all had that.'
In radio interviews, some of which have not been heard for decades, Lennon admits: 'Especially in the early years I would often write a melody, a lyric in my head to some other song because I can't write music. So I would carry it around as somebody else's song and then change it when I got down to putting it on paper or tape - consciously change because I knew somebody's going to sue me or everybody's going to say "what a rip-off".'
Melvyn Bragg, editor of The South Bank Show, said: 'The musicians are surprisingly amiable. If they'd been ripped off by somebody they thought was second rate, that would have been different. But they really admired the Beatles, so it's OK. On the film I saw no resentment, only a bit of ruefulness. But who wouldn't be?'
Midwinter's widow and son have refused to cash in on the jukebox and plan to give it to Lennon's widow Yoko Ono for possible display at Lennon's childhood home in Liverpool. The family will also publish a posthumous book by Midwinter on the subject. A double CD, John Lennon's Jukebox, is released by Virgin/ EMI tomorrow.
Az illetőt én sem ismerem, csupán hallottam ezt-azt a feleségéről és róla is annak idején. A megfelelő ember a gigantikus mű elkészítésére, az biztos is.
Question: How do you write your books?
Lennon: I put things down on sheets of paper and stuff them in me pockets. When I have enough, I have a book.
Question: Why do you kill people off in your books?
Lennon: That's a good way to end them. I suppose they were manifestations of hidden cruelties. They were very Alice in Wonderland and Winnie-the-Pooh. I was very hung up then. I got rid of a lot of that. It was my version of what was happening then. It was jsut the usual criticisms, as some critic put it.
Question: What were you really trying to say in your book? Why don't people understand it?
Lennon: I understand it. If I wrote in normal spelling there would be no point. I'm not saying anything. There is no message.
I was bored on the 9th of Octover 1940 when, I believe, the Nasties were still booming us led by Madalf Heatlump (Who had only one). Anyway, they didn't get me. I attended to varicous schools in Liddypol. And still didn't pass-much to my Aunties supplies. As a memebr of the most publified Beatles me and (P, G, and R's) records might seem funnier to some of you than this book, but as far as I'm conceived this correction of short writty is the most wonderfoul larf I've ever ready.
In November 1971, Paul McCartney shared his thoughts on the Beatles breakup, John and Yoko, and John's song "How Do You Sleep" with Melody Maker magazine. The article infuriated John Lennon so much that Lennon dashed a letter of reply to Melody Maker, and requested that his letter be published in its entirety in an effort to give "equal time" to his version of the story. The exchange read as a very public argument between the two ex-Beatles.
McCartney in Melody Maker
PAUL: "There was a bit of hype on the back of the (Let It Be) sleeve for the first time ever on a Beatles album. At the time, the Beatles were very strained with each other and it wasn't a happy time. It said it was a 'new-phase Beatles album' and there was nothing further from the truth. That was the last Beatles album and everybody knew it... (Allen) Klein had it re-produced because he said it didn't sound commercial enough."
"I just want the four of us to get together somewhere and sign a piece of paper saying it's all over and we want to divide the money four ways. No one else would be there, not even Linda or Yoko or Allen Klein. We'd just sign the paper and hand it to the business people and let them sort it out. That's all I want now, but John won't do it. Everybody thinks I am the agressor but I'm not, you know. I just want out."
"John and Yoko are not cool in what they are doing. I saw them on television the other night and thought that what they are saying about what they wanted to do together was basically the same as what Linda and I want to do."
"John's whole image now is very honest and open. He's alright, is John. I like his 'Imagine' album but I didn't like the others. 'Imagine' is what John is really like but there was too much political stuff on the other albums. You know, I only really listen to them to see if there's something I can pinch." (laughs)
"'How Do You Sleep'? I think it's silly. So what if I live with straights? I like straights. I have straight babies. It doesn't affect him. He says the only thing I did was 'Yesterday.' He knows that's wrong. He knows and I know it's not true."
"John wanted to do a big thing in Toronto (9/13/69 concert, Toronto Rock and Roll Revival) but I didn't dig that at all. I hear that before he went on stage he was sick, and that's just what I didn't want. Like anybody else I have been nervous because of the Beatles thing."
"I wanted to get in a van and do an unadvertised concert at a Saturday night hop at Slough Town Hall or somewhere like that. We'd call ourselves Rikki and the Red Streaks or something and just get up and play. There'd be no press and we'd tell nobody about it. John thought it was a daft idea."
"Before John was leaving the Beatles, I was lying in bed at home one night and I thought we could get a band together, like his Plastic Ono Band. I felt the urge because we had never played live for four years. We all wanted to appear on a stage but not with the Beatles. We couldn't do it as the Beatles because it would be so big. We'd have to find a million-seater hall or something."
Lennon's response letter, published in Melody Maker
Dear Paul, Linda et all the wee McCartney's,
Thanks for your letter.
1. We give YOU money for your bits of Apple.
2. We give you MORE money in the form of royalties which legally belong to Apple (I know we're Apple, but on the other hand we're not.).
Maybe there's an answer there somewhere, but for the millionth time in these past few years I repeat, 'What about the TAX?' It's all very well, playing 'simple honest ole Paul' in Melody Maker but you know damn well we can't just sign a bit of paper.
You say, 'John won't do it.' I will if you indemnify us against the tax man! Anyway, you know that after we have OUR meeting, the fucking lawyers will have to implement whatever we agree on, right?
If they have some form of agreement between THEM before WE meet, it might make it even easier. It's up to you, as we've said many times, we'll meet whenever you like. Just make up your mind! E.g. two weeks ago I asked you on the phone, 'Please let's meet without advisors, etc. and decide what we want,' and I emphasized especially Maclen [Lennon and McCartney's songwriting company] which is mainly our concern, but you refused, right?
You said under NO CONDITION would you sell to us if we didn't do what you wanted, you'd sue us again and that Ringo and George are going to break you John, etc. etc.
Now I was quite straight with you that day, and you tried to shoot me down with your emotional "logic." If YOU'RE not the aggressor (as you claim) who the hell took us to court and shat all over us in public?
As I've said before, Have you ever thought that you might POSSIBLY be wrong about something? Your conceit about us and Klein is incredible. You say you "made the mistake of trying to advise them against Klein and that pissed them off" and we secretly feel that you're right! Good God! You must know WE'RE right about Eastman.
One other little lie in your "It's only Paulie" MM bit: Let It Be was not the first bit of hype on a Beatle album. Remember Tony Barrow? And his wonderful writing on "Please Please Me" etc. etc. The early Beatle Xmas records!
And you gotta admit it was a 'new-phase' Beatle album, incidentally written in the style of the great Barrow himself! By the way, what happened to my idea of putting the parody of our first album cover on the Let It Be cover?
Also, we were intending to parody Barrow originally, so it was hype. But what is your LIFE article? Tony Barrow couldn't have done it better. (And your writing inside of the Wings album [Wild Life] isn't exactly the realist is it?) Anyway, enough of this petty bourgeois fun.
Another thing, whadya mean BIG THING in Toronto? It was completely spontaneous. They rang on the Friday, we flew there, and we played on Saturday. I was sick because I was stone pissed. Listen to the album-- with no rehearsal too. Come on Macka! Own up! We'd never played together before! Half a dozen live shows with no big fuss. In fact we've BEEN DOING what you've said the Beatles should do. Yoko and I have been doing it for three years! (I said it was daft for the Beatles to do it. I still think it's daft.) So go on and do it! Do it! Do it! E.g. Cambridge 1969, completely unadvertised! A very small hall. Lyceum Ballroom, 1969, no fuss, great show-- thirty piece rock band! "Live Jam" out soon! Filmore East, 1971, unannounced. Another good time had by all-- out soon!! We even played in the streets here in the Village (our spiritual home!?) with the great David Peel!! We were moved on by the cops even!! It's best just to DO IT.
I know you'll dig it, and they don't even expect the Beatles now anyway!
So you think 'Imagine' ain't political? It's 'Working Class Hero' with sugar on it for conservatives like yourself!! You obviously didn't dig the words. Imagine! You took 'How Do You Sleep' so literally (read my own review of the album in Crawdaddy.) Your politics are very similar to Mary Whitehouse's-- 'Saying nothing is as loud as saying something.'
No hard feelings to you either. I know basically we want the same, and as I said on the phone and in this letter, whenever you want to meet, all you have to do is call.
All you need is love
Power to the people
Free all prisoners
Jail the judges
Love and peace
Get it on and rip 'em off
John Lennon
P.S. The bit that really puzzled us was asking to meet WITHOUT LINDA AND YOKO. I thought you'd have understood BY NOW that I'm JOHNANDYOKO.
P.P.S. Even your own lawyers know you can't "just sign a bit of paper." (or don't they tell you?)
John & Paul's Hindsight Perspective
PAUL circa-1994: "When John did 'How Do You Sleep?' I didn't want to get into a slinging match. Part of it was cowardice. John was a great wit, and I didn't want to go fencing with the rapier champion of East Cheam-- But it meant that I had to take shit-- It meant that I had to take lines like 'All you ever did was Yesterday.' I always find myself wanting to excuse John's behavior, just because I loved him. It's like a child, sure he was a naughty child, but don't you call my child naughty. Even if it's me he's shitting on, don't you call him naughty. That's how I felt about this and still do. I don't have a grudge whatsoever against John. I think he knew exactly what he was doing and because we had been so intimate he knew what would hurt me and used it to great effect. I thought, 'Keep your head down and time will tell,' and it did because in the 'Imagine' film (Imagine John Lennon, documentary) he says it was really all about himself."
JOHN 1974: "It's not about Paul, it's about me. I'm really attacking myself. But I regret the association... well... what's to regret? He lived through it. The only thing that matters is how he and I feel about these things and not what the writer or commentator thinks about it. Him and me are okay."
JOHN 1974: "When I slagged off the Beatles thing, it was like divorce pangs and, me being me, it was 'Blast this! Fuck the past!' I've always had a bit of a mouth and when a thing begins that way you have to live up to it. Then Paul and me had that fight in the pages of MM. It was a period I had to go through. I sort of enjoy the fight at the time-- that's the funny thing. Now we've got it all out and it's cool. I can see the Beatles from a new point of view."
JOHN 1980: "I used my resentment against Paul that I have as a kind of sibling rivalry resentment from youth to create a song... not a terrible vicious horrible vendetta... I used my resentment and withdrawing from Paul and the Beatles, and the relationship with Paul, to write 'How Do You Sleep.' I don't really go 'round with those thoughts in my head all the time."
Hősünk megnyilvánulásai az élet legkülönbözőbb területein:
I can't remember anything without a sadness
So deep that it hardly becomes known to me
So deep that its tears leave me a spectator of my own stupidity.
-John, in a letter to Stuart Sutcliffe about 1961-1962.
Good George Martin is our friend
Buddy Pal and Mate
Buy this record and he'll send
A dog for your front gate
CHORUS: With an arf arf here
And an arf arf there, etc.
Sung to the tune of Old McDonald Had An Arm by the Beatles a band.
"Your Majesty, I am returning my MBE in protest against Britain's involvement in the Nigeria-Biafra thing, against our support of America in Vietnam and against 'Cold Turkey' slipping down in the charts.
With love,
John Lennon"
November 25, 1969
Úgy emlékszem, Budapesten, a tizenhatodik kerület egyik elhanyagolt kis művésziskolájában, meg Ózdon és egyszer Miskolcon készített pokoli installációkat. Ő alkalmazott medvevért a világon elsőként, a mozaik megfelelő színezése céljából. Ezekről annak idején a Rolling Stone is beszámolt.
Hello mindenki!
Művészeti suliba járok és a képzősöknek az volt a feladatuk,hogy mozaikképet készítsenek vkiről.A kedvencem JOHN LENNON-é volt.Fantasztikus!Az a srác egy zseni!
Lennon Psychedelic Sketches Found
Psychedelic Images From the Mind of John Lennon
by Catherine Milner and Mark Inglefield
A sketchbook of John Lennon’s disturbing
psychedelic drawings from 1967 were recently
unearthed. Described as “drug-fuelled visions,”
they reveal in part the disorientation he was
experiencing during his years of serious
experimentation with mind-expanding drugs.
A collection of John Lennon sketches depicting the singer’s drug-fuelled vision of an island escape from Beatlemania, has come to light at the home of the man who introduced him to Yoko Ono.
John Dunbar, ex-husband of singer Marianne Faithfull, has discovered the drawings inside a jotter he took on a trip to Ireland with Lennon. It is estimated that they could fetch more than Ł100,000 at auction. “I can’t believe it - most of John’s drawings are frightful,“ said Mr. Dunbar.
The journey of Lennon and Dunbar to Ireland typified the surreal adventures of the Beatles and the rock aristocracy in the late Sixties. Mr. Dunbar recalls that Lennon had spotted a newspaper advertisement for “an island off Ireland“ being sold for Ł1,000. While attending one of the decade’s notorious psychedelic “happenings,“ the “24 Hour Technicolour Dream” party at Alexandra Palace, north London, Lennon determined to buy it. “It was something to do“ explained Mr. Dunbar.
They flew to Dublin the following morning, from where they travelled across Ireland in a black limousine to Clew Bay on the west coast. There they hired a boat to Dornish Beg - the tiny hummock sticking out of the Atlantic that had caught Lennon’s fancy.
But the journey was warped by copious consumption of LSD, and the increasingly chaotic nature of the drawings chart the singer’s mental disintegration. The men had started taking the drug at the Technicolour Dream party, said Dunbar, and continued without a break for four or five days.
“I had taken it first as early as 1963 - whereas John had only recently started, so I think he was probably more affected by it. The island was more like a couple of small hills joined by a gravelly bar with a cottage on it,“ said Dunbar. “When we got there, John sat down and started drawing.“
Apart from one Dante-esque drawing covering two pages which features hollowed eyes, ghoulish faces and fat nude females in an incoherent scrawl of lines and squiggles, Lennon drew up architectural plans of a large octagonal tower or lighthouse on the island in which he wanted to live.
“It was a beautiful spot,“ says Mr. Dunbar. But Lennon never went to live on the island because of his relationship with Yoko Ono. Lennon later gave the island away to a stranger who turned up with his family at Apple, the Beatles’ self-founded record company, at a time when the group’s hippie ideals made them the target of fleecers. The musicians haemhorraged so much money that Lennon was soon to announce that he was “down to my last Ł40,000.“
The drawings belong to the most controversial period of Lennon and McCartney’s songwriting. A few months after Lennon’s visit to the island the group released Lucy In The Sky With Diamonds - the source of speculation, because of the title’s initials, that it was inspired by LSD. Lennon always insisted that it was prompted by a drawing done by his son, Julian, but the influence of drugs was undeniable.
The recording of A Day In The Life - whose drug references were brazen - was turned into a psychedelic “happening“ by the group and their friends. However, Lennon was forced into giving up LSD by the “thousands“ of bad trips he experienced. He was later privately to admit that he was lucky to have regained his mental equilibrium afterwards. Many of his friends never did.
His drawings - and the whole Irish escapade - capture the singer’s desperation to escape the pressures of fame. In another typical episode, the whole group planned to decamp to live together in Greece.
A London art dealer in the Sixties, Dunbar introduced Lennon to Yoko Ono when she was showing at his gallery. “He lost interest when Yoko appeared on the scene. They eventually moved to the U.S.“
Carey Wallace, Beatles expert at Christies, said: “Anything that gives an insight into Lennon’s mind is highly sought-after and Beatles’ memorabilia is very strong at the moment.“
