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just insane mclennon things
John playing his and Yoko's sex tape in a band meeting
As the meeting was drawing to a weary close, John, not this day with Yoko, who hadnât seemed particularly connected with what was going on, said he wanted to play us a tape he and Yoko had made. He got up and put the cassette into the tape machine and stood beside it as we listened. The soft murmuring voices did not at first signal their purpose. It was a man and a woman but hard to hear, the microphone having been at a distance. I wondered if the lack of clarity was the point. Were we even meant to understand what was going on, was it a kind of artwork where we would not be able to put the voices into a context, and was context important? I felt perhaps this was something John and Yoko were examining. But then, after a few minutes, it became clear. John and Yoko were making love, with endearments, giggles, heavy breathing, both real and satirical, and the occasional more direct sounds of pleasure reaching for climax, all recorded by the faraway microphone. But there was something innocent about it too, as though they were engaged in a sweet serious game. John clicked the off button and turned again to look toward the table, his eyebrows quizzical above his round glasses, seemingly genuinely curious about what reaction his little tape would elicit. However often theyâd shared small rooms in Hamburg, whatever they knew of each otherâs love and sex lives, this tape seemed to have stopped the other three cold. Perhaps it touched a reserve of residual Northern reticence. After a palpable silence, Paul said, âWell, thatâs an interesting one.â The others muttered something and the meeting was over. It occured to me as I was walking down the stairs that what weâd heard could have been an expression of 1960s freedom and openness but was it more likely that it was as if a gauntlet had been thrown down? âYou need to understand that this is where she and I are now. I donât want to hold your hand anymore.â
Paul putting beetles fucking on his album artwork
John hiring a pig and posing with it solely to mock Ram even though he was scared of it
At the end of the day a farmer delivered a huge hog to the mansion [Tittenhurst Park]. It was Johnâs notion to parody the album jacket photograph of Paul McCartneyâs Ram, which showed Paul wrestling with a ram; John would wrestle with a pig. We all went outside and stared at the large surly animal. It was much bigger than any of us had expected. John circled the animal warily. He liked the idea, but he didnât like the hog. Dan stood poised to snap the picture. âClimb on its back, John, and grab its ears,â he said. John looked doubtful. He stepped closer to the animal. It let out a shrill, strange, sound. John stepped back, but we all urged him on. âYou can do it, John,â I said. John approached the animal once again. âI canât hold the frigginâ pig for too long. You get one shot and one shot alone,â he told Dan.
Loving John: The Untold Story, May Pang
John & Yoko attempting to get revenge married in Paris 2 days after Paul & Linda
âOn March 12, Paul married Linda Eastman at Marylebone Register Office in London, amid scenes of hysterical grief from his female fans. None of the other Beatles was present. The news reached John as he and Yoko were driving down to visit Aunt Mimi in Poole. Yokoâs divorce decree had become final a few weeks earlier, and, in a resurgence of Beatle copycat, John told her they, too, must get married as soon as possibleâ
Philip Norman, John Lennon: The life
We chose Gibraltar because it is quiet, British and friendly. We tried everywhere else first. I set out to get married on the car ferry and we would have arrived in France married, but they wouldnât do it. We were no more successful with cruise ships. We tried embassies, but three weeksâ residence in Germany or two weeksâ in France were required.
John Lennon
SALEWICZ: Well, I always found it interesting the fact that he got â I mean, it seemed too much like coincidence to me, the fact that he got married a week or month after you. You know what I mean? PAUL: Yeah. I think we spurred each other into marriage. I mean, you know. They were very strong together, which left me out of the picture. So I got together with Linda and then we got strong with our own kind of thing. And I used to listen to a lot of what they said. I remember him saying to me, âYouâve got to work at marriage,â which is something I still remember as a bit of advice. I still remember that. Um⌠And then yeah, I think they were a little bit peeved that we got married first. Probably. In a little way, you know, just minor jealousies. And so they got married. I donât know if thatâs â I mean, who knows⌠[inaudible] making it up, anyway.
September, 1986 (MPL Communications, London): journalist Chris Salewicz
Their belief in telepathy & shared dreams
NEIL: Iâd just rather not say anything. Itâs one of those situations. PAUL: Yeah. [pause] Well, thatâs â thatâs the trouble you see, there, âcause thatâs it. Itâs like, with our â heightened awareness, the answer is not to say anything, you know. But it isnât. âCause I mean, we screw each other up totally if we donât do that. âCause weâre not ready for your heightened⌠vows of silence. [laughs; hapless] Weâre really not! Like, we donât know what the fuck each otherâs talking about, when that â we all just sort of getâ NEIL: I think itâs just between the four of you, that get it. Thatâs what Iâd pretend. PAUL: Oh yeah, right, yeah. But you see, thatâs it, thatâs why John doesnât say anything. âCause he, you know, he just⌠There was something the other day, when I said, âWell, what do you think?â And he just stood there and didnât say anything. And then â and I know exactly why, you know. I mean, I wouldnât, if⌠[long pause] Somehow. You know, thereâs nothing really much to be said about it. You just â we all just have to do it, and all that, instead of like talking about it. But â but if one of us is talking about it, itâs a drag if the other three arenât. Because then it sort of throws you off. [inaudible; voice marking tape slate] I mean, weâve just been talking about it now for a few years, you know. Like thisâŚ
From the Get Back sessions (13 January 1969).
HINDLE: What do you think about language? JOHN: I think itâs a bit crummy, you know? It is a drag form of communication, really. Weâll get â weâll get telepathy. I believe that. HINDLE: You believe that? JOHN: Yeah, sure. Sure. Sure as anything I believe. Itâs too⌠Because now we need it so much. [...] There are â thereâs people everywhere of the same mind and itâs just⌠even amongst ourselves we canât communicate. Which is the hard bit, you know. HINDLE: Yeah. JOHN: Amongst the people that sort of really agree. HINDLE: Just âcause of words? JOHN: Just âcause of words, and upbringing, and attitude, and how you express your⌠Well, itâs just some â youâve got to find a mutual sort of language to express yourself, you know? And my language is thatâ HINDLE: Unless you fall in love itâs impossible to communicate like that. JOHN: I mean, I wasnât in love last year, but I was communicating quite well with people. Not as well, or maybe not as powerfully. âCause now thereâs two of us, doing that, brrmmm, whatever it is. Sending out a vibration or whatever. But before it was me and⌠or me and George, alright, or whatever it was; we werenât in love, but. You know. Thereâs enough in you to shove it out. It is just that bit. If you â if somebody comes in a room and heâs uptight and that, he can make the whole room uptight.
John Lennon, interviewed by Maurice Hindle (December 1968).
PAUL: I remember when John and I were first hanging out together, I had a dream about digging in the garden with my hands. Iâd dreamt that before but Iâd never found anything other than an old tin can. But in this dream I found a gold coin. I kept digging and I found another. And another. The next day I told John about this amazing dream Iâd had and he said, âThatâs funny, I had the same dreamâ. So both of us had this dream of finding this treasure. And I suppose you could say it came true. I remember years later talking about it â âRemember that dream we had?â; âYeah, that was far outâ. So the message of that dream was: keep digging lads.
PAUL MCCARTNEY TO THE BIG ISSUE. FEBRUARY 2012.
John climbing the wall to Paul's house because Paul skipped a session for his & Linda's anniversary
(Not confirmed but supposedly)
Paul being utterly convinced that John can't be gay because he didn't try it on when they slept in the same bed
I mean, if John wasâthe trouble is, see, is heâs not here to fend for himself, and we canât ask him, ââScuse me, John, are youâhave you ever been gay?â I mean, heâs the kindâ I remember people used to ask that. There were lots of people asking cheeky questions, and they were always saying, âWell, whyâhave you ever tried homosexuality, John?â You know, they always used to ask all that kind of stuff. I remember John saying to them, âNo, Iâve never met a fella I fancy enough.â And that was his kind of opinion. You know, âI may goâI may be gay one day, if some fella really turns me on.â He wasâhe was that open about it. But as far as I was concerned, I slept in a million hotel roomsâas we all didâslept in a million places with John, and there was never any hint of it.
December 24th, 1983: interview with DJ Roger Scott
âAnd I say, if heâs homosexual, I thought heâd have made a pass at me in 20 years, darling.â
Paul McCartney talking about John Lennon.
âBrian Epstein, the Beatlesâ manager, was a known homosexual. Epstein was always polite and charming. It has been insinuated that John was drawn to Epstein. I believe there was no such relationship between them. John was macho. But if John was a homosexual, it would have made no difference to me. Iâve asked Paul McCartney, who laughed and said: âWhy not me? Iâm handsome.â Then he said: âI was holed up with John in hotel rooms everywhere. There was never a suggestion of anything like that.â I believe him.â
Julia Baird, in Boston Globe: Lennonâs half-sister remembers⌠(2 October 1988).
âAll I can ever say about it is that I slept with John a lot because you had to, you didnât have more than one bed - and to my knowledge John was never gay.â
Paul McCartney, The Brian Epstein Story
And maybe he's right to be offended?
Did Lennon have sex with other men? âI think he had a desire to, but I think he was too inhibited,â says Ono. âNo, not inhibited. He said, âI donât mind if thereâs an incredibly attractive guy.â Itâs very difficult: They would have to be not just physically attractive, but mentally very advanced too. And you canât find people like that.â So did Lennon ever have sex with men? âNo, I donât think so,â says Ono. âThe beginning of the year he was killed, he said to me, âI could have done it, but I canât because I just never found somebody that was that attractive.â Both John and I were into attractivenessâyou knowâbeauty.â
Yoko Ono: I Still Fear Johnâs Killer by Tim Teeman for the Daily Beast (13 October 2015).
There was even some discussion, albeit not very serious, of whether he should stick to his own gender. âJohn said âIt would hurt you like crazy if I made it with a girl. With a guy, maybe you wouldnât be hurt, because thatâs not competition. But I canât make it with a guy because I love women too much, and Iâd have to fall in love with the guy and I donât think I can.ââ
Yoko on her and John discussing the terms of an open marriage in 1973 (John Lennon: The Life)
On that note, Paul's obsession with sleeping in the same bed as John
Paul McCartney answers questions for Q magazine, 1998
John and I used to hitch-hike places together, it was something that we did together quite a lot; cementing our friendship, getting to know our feelings, our dreams, our ambitions together. It was a very wonderful period. I look back on it with great fondness. I particularly remember John and I would be squeezed in our little single bed, and Mike Robbins, who was a real nice guy, would come in late at night to say good night to us, switching off the lights as we were all going to bed.
Many Years From Now
John and I always liked wordplay. So, the phrase âSheâs got a ticket to rideâ of course referred to riding on a bus or train, but â if you really want to know â it also referred to Ryde on the Isle of Wight, where my cousin Betty and her husband Mike were running a pub. Thatâs what they did; they ran pubs. He ended up as an entertainment manager at a Butlinâs holiday resort. Betty and Mike were very showbiz. It was great fun to visit them, so John and I hitchhiked down to Ryde, and when we wrote the song we were referring to the memory of this trip. Itâs very cute now to think of me and John in a little single bed, top and tail, and Betty and Mike coming to tuck us in.
Paul McCartney, on âTicket To Rideâ. In The Lyrics (2021).
âJohn and I grew up like twins although he was a year and a half older than me. We grew up literally in the same bed because when we were on holiday, hitchhiking or whatever, we would share a bed. Or when we were writing songs as kids heâd be in my bedroom or Iâd be in his. Or heâd be in my front parlour or Iâd be in his, although his Aunt Mimi sometimes kicked us out into the vestibule!â
New Statesman, âPaul McCartney - Meet The Beatle,â September 26, 1997
âI wrote all those songs with him soâŚ. what can I say to people?? We were kids! I mean⌠we slept together, topped and tailed in beds and hitch-hiking and stuff, so,âŚ. I mean, we were just totally you know,âŚ.. mates.â
Paul McCartney
John taking matters into his own hand to start rumours about him and Paul
The consensus among John, Paul and Yoko that if J&P could have been together, they would have
â. . . I mean, I think really what it was, really all that happened was that John fell in love. With Yoko. And so, with such a powerful alliance like that, it was difficult for him to still be seeing me. It was as if I was another girlfriend, almost. Our relationship was a strong relationship. And if he was to start a new relationship, he had to put this other one away. And I understood that. I mean, I couldnât stand in the way of someone whoâd fallen in love. You canât say, âWhoâs this?â You canât really do that. If I was a girl, maybe I could go out and⌠But you know I mean in this case I just sort of said, right â I mean, I didnât say anything, but I could see that was the way it was going to go, and that Yoko would be very sort of powerful for him. So um, we all had to get out the way.â
Paul McCartney, interview with German tv program Exclusiv, April 1985.
JOHN: Itâs a plus, itâs not a minus. The plus is that your best friend, also, can hold you without⌠I mean, Iâm not a homosexual, or we could have had a homosexual relationship and maybe that would have satisfied it, with working with other male artists. [faltering] An artist â itâs more â itâs much better to be working with another artist of the same energy, and thatâs why thereâs always been Beatles or Marx Brothers or men, together. Because itâs alright for them to work together or whatever it is. Itâs the same except that we sleep together, you know? I mean, not counting love and all the things on the side, just as a working relationship with her, it has all the benefits of working with another male artist and all the joint inspiration, and then we can hold hands too, right?
John Lennon, interview w/ Sandra Shevey. (Mid-June?, 1972)
Y: After the initial embarrassment, that how Paul is being very nice to me, heâs nice and a very, str- on the level, straight, sense, like wherever thereâs something like happening at the Apple, he explains to me, as if I should know. And also whenever thereâs something like they need a light man, or something like that he asks me if I know of anybody, things like that. And like I can see that heâs just now suddenly changing his attitude, like his being, heâs treating me with respect, not because itâs me, but because I belong to John. I hope thatâs what it is because that would be nice. And I feel like heâs my younger brother or something like that. Iâm sure that if he had been a woman or something, he would have been a great threat, because thereâs something definitely very strong with me, John, and Paul.
Yoko Ono, Revolution Tape, June 4th 1968
"We thought we'd do a number of an old estranged fiancĂŠ of mine called Paul.""
As a second choice from the Lennon- McCartney songbook, Elton suggested 'I Saw Her Standing There'. This appealed to John for its antiquity, and because its lead vocal always was sung by Paul. (...) There was a whisper of Royal Variety Show mischief when he announced "a number by an old estranged fiancĂŠ of mine called Paul" - no one yet knowing the estranged fiancĂŠs were long reconciled.
John Lennon: The Life, Philip Norman
You know, John loved Paul. No doubt about it. I remember once he said to me, âIâm the only person whoâs allowed to say things like that about Paul. I donât like it when other people do.â He didnât like if other people said nasty things about Paul. And he always referred to Paul as his estranged fiancĂŠ and things like that, like he did on that [live] record âI Saw Her Standing Thereâ with Elton in Madison Square Garden.
1990: Former Beatles publicist Tony King
Married couple signatures
(and the reverse of that postcard...)
John publicly predicting Paul & Linda's divorce
You were right about New York! I do love it; it's the ONLY PLACE TO BE. (Apart from anything else, they leave you alone too!) I see you prefer Scotland! (MM) -- I'll bet you your piece of Apple you'll be living in New York by 1974 (two years is the usual time it takes you right?)
John's letter to Paul in Melody Maker, 1971 Finally, about not telling anyone that I left the BeatlesâPAUL and Klein both spent the day persuading me it was better not to say anythingâasking me not to say anything because it would 'hurt the Beatles'âand 'let's just let it petre out'âremember? So get that into your petty little perversion of a mind, Mrs. McCartneyâthe cunts asked me to keep quiet about it. Of course, the money angle is importantâto all of usâespecially after all the petty shit that came from your insane family/in lawsâand GOD HELP YOU OUT, PAULâsee you in two yearsâI reckon you'll be out thenâinspite of it all, love to you both, from us two.
John's personal letter to Linda & Paul, 1971
JOHN: Oh, [Klein]âd love it if Paul would come back. I think he was hoping he would for years and years. He thought that if he did something, to show Paul that he could do it, Paul would come around. But no chance. I mean, I want him to come out of it, too, you know. He will one day. I give him five years, Iâve said that. In five years heâll wake up. YOKO: And people donât understand, you know. Thereâs so many groups that constantly announce theyâre going to split, theyâre going to split, and they can announce it every year, and it doesnât mean theyâre going to split. But people donât understand what an extraordinary position the Beatles are in, you know. In every way. Theyâre in such an extraordinary position that theyâre more insecure than other people. And so Klein thinks heâll give Paul two years Linda-wise, you know. And John said, âNo, Paul treasures things like children, things like that. It will be longer.â And of course, John was right.
John Lennon and Yoko Ono, interview w/ Peter McCabe and Robert Schonfeld. (September, 1971)
My addition:
John Lennon literally saying he had sex with Paul McCartney.
â John Lennon, interview w/ Lisa Robinson for Hit Parader:Â A conversation with John Lennon. (December, 1975)
This interview was to promote Paulâs book âMany Years From Nowâ. Just before this they were talking about The Beatles break up and the bandâs money issues and Allan Klein. At this point in the interview Paul is asked if his relationship with John was always âspikyâ. He says that it wasnât that they loved each other and he still does.Â
Parkinson:Â (..) Was it always a spiky relationship? I mean you say you loved him and that love comes through in the book, did he love you?
Paul: Yeah, I think he did actually. (Joking around) Weâll check, excuse me for a moment⌠John, come on baby, did yaâŚÂ ? Yes!. No, I think he did, yeah. It wasnât actually a spiky relationship at all. It was very warm, very close and very loving, I think, of all The Beatles. We used to say, I think we were amongst the first men to come out openly, âcause remember you know, it was quite strange in those days and it was a long time ago. Homosexuality was still sort of largely illegal. We used to say I love him on interviews and interviewers would get slightly taken aback you know, a man saying he loves him. But I think, quite generally, I think we really did and I still do.. Um.. but the business thing came right in the middle of it and the lawyers came along with the business thing. And I talked to John many years later because itâs great saving grace that we did put our relationship back together. Thank God for that because I donât know what Iâd do now with him gone if we hadnât. I think I would be sort of wracked with all sorts of guilt. But, we did and chatting to him one of the first things he said to me when we met after the break up and things calmed down, he said âDo they try to put you against me like they put me against you? Do they do that?â and I said my God if they do. And he said itâs good, good to know because theyâre always trying to pin me against you..

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âJohn and I went to Paris on birthday money he received from a relative. He must have been fond of me to spend that money. He let me have all the banana milkshakes I wanted.â
â Paul McCartney (via paulmcfruity)
âI didnât leave the Beatles. The Beatles have left the Beatles, but no one wants to be the one to say that the partyâs over. Last year John said he wanted a divorce. All right, so do I. I want to give him that divorce. I hate this trial separation because itâs just not working. Johnâs in love with Yoko, and heâs no longer in love with the three of us.â - Paul Mccartney
Paul Mccartney talks about the day he and John Lennon met at the Woolton Fete on July 6, 1957. He starts talking about how his friend Ivan introduced them.
Paul: ⌠so we were good mates. We went along and just.. uh.. saw this group on a little stage there and the singer who was John, he just looked like he had something, you know?
Parkinson:Â Did you audition?
Paul:Â Well,. Umm. What happened is that they did their first thing and they had a break and they were due to do the evening thing so, the break was an opportunity for the band to get drunk, really. Â And so, John, heâd had a few beers when I sort of finally said hello to him. But uh, Iâll show you the song. I just happen to have a guitar.
Parkinson:Â Yes, you do.. (smiling)
Paul: Yes, we do. You carry it with you.. (tunning his guitar) Near enough. (laughs). So, yeah. So, we were backstage and John was leaning over me with his beery breath (babbles in a drunken way) and I thought âWho is this?â, you know?. But, uh, one of them lent his guitar because Iâm left handed the strings go the other way and they wouldnât let me change the strings, so, âcause I had a mate who had right handed I learnt how to play upside down and that was a little bit impressive (chuckes). But, I also knew the words to this song that they all loved and they didnât know the words and that was enough to get in. Itâs Twenty Flight Rock by Eddie Cochran. So, Iâll just do a bit of it and show you what got me in The Beatles.Â
- Launches into the song. -Â
Note: Sorry if there are any mistakes here.. :)
âOn March 12, Paul married Linda Eastman at Marylebone Register Office in London, amid scenes of hysterical grief from his female fans. None of the other Beatles was present. The news reached John as he and Yoko were driving down to visit Aunt Mimi in Poole. Yokoâs divorce decree had become final a few weeks earlier, and, in a resurgence of Beatle copycat, John told her they, too, must get married as soon as possible.â
â
Philip Norman, John Lennon: The life (via bewaremylove)
Iâve always found this quite telling, really.
ââI have had two companions in my life. Paul McCartney and Yoko Ono. Thatâs not badâ â John Lennonâ
â

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âThere was a sense that Lennonâs emotions were running out of control. In the same month that he wrote âHow Do You Sleepâ he came across a publicity booklet about the Beatles compiled by a hapless member of the Apple staff. Lennon went berserk. When he couldnât find anyonen willing to claim responsibility, he grabbed a felt pen and began to deface the booklet. âThis is to prejudiced against John and Yoko that I want to know who put it together and fire them,â he scrawled. He added a speech bubble to a shot of the 21-year-old McCartney: âIâm always perfect.â Alongside a reference to a McCartney visit to Hollywood, he wrote bitterly, âCuts Yoko and John out of film!â There was a line about the McCartneysâ wedding, which Lennon altered to read âfuneralâ. It was the work of a jealous child rather than an artist who had been freed of pain by Primal Scream Therapy.â
â from the book You Never Give Me Your Money by Peter Doggett (via beatgirl02)
âThe engineers begin splicing the tapes, and Phil [Spector] asks John: âHave you heard Paulâs new album [Wild Life]?â âNo.â âItâs really bad. Just four musicians, and itâs awful.â âDonât talk about it. It depresses me.â âDonât worry, John. âImagineâ is Number One, and [âHappy Xmas (War Is Over)â] will be Number One too. Thatâs all that matters.â âNo, itâs not that. Itâs just that whenever anybody mentions his name, I donât think about the music â I think about all the business crap. Donât talk about him.ââ
â
Richard Williams, Uncut: So this is Christmas⌠(retrospective). (January, 1998)
This is so incredibly sad⌠shit.Â
(via bewaremylove)
When asked if John and Paul were âas close as the media made them out to be,â Julia Baird giggled and said, âOh, no, they were closer!â She then elaborated, ââPaul and John would come to her fatherâs place, go upstairs and lock themselves in for hours and hours, listening to records and thumping about up there.â She said they were closer than any two people sheâs ever met, and that they used to be able to âlook at each other, stare at each other, and convey a whole conversation beyond all of us.âÂ
ââThe deal was, he could say that but if you said that, if you or anyone said anything bad about Paul, Johnâd take a swing at you. Heâd say âyou canât talk about Paul like thatâ, Paul was his best buddy. If you were talking to Paul and youâd say something derrogatory about John, heâd get up and leave. You know Paul was more of the peaceful guy. But John had that hot head and he would say âyou wanna talk about Paul? letâs get out, letâs go. You werenât allowed to say anything bad about Paul or John to the each one of them because they would defend each other, which I liked, I thought that was great because you knew they were connected at the hipââ
â
Alice Cooper (On John and Paul) on the Kim Mitchell Show
Full video here:Â http://www.youtube.com/watch?v=jePXlUrsDyM
(via bewaremylove)
âAn overheard dialogue between John and Paul just after John and Yoko had first slept together and recorded Two Virgins in May 1968. âDo you hate me?â John asked repeatedly. 'Iâm crazy, you know.â 'No, I donât hate you.â McCartney spoke with his face partly averted from Lennonâs rapt gaze. 'Arenât you pissed at me now, Paul? Not even a little bit?â 'Iâm very proud of you.â John eased off. âMaybe I wonât split.ââ
â Bio: McCartney, by Christopher Standford (via bewaremylove)

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Paul McCartney, John Lennon, and the rest of The Quarrymen performing at the New Clubmoor Hall (Conservative Club), Back Broadway, Liverpool, photographed by Leslie Kearney. (November 23rd, 1957)
-
In images of the Quarry Men before Paul joined theyâre all wearing different clothes. In the first photo of the group with Paul they have a uniform look, and a sharp one at that: white shirts with black bootlace ties and black trousers, and John and Paul (only) are also wearing jackets on top, white or creamâitâs Paulâs âwhite sports coatâ and something similar John has managed to acquire. This was undoubtedly Paulâs doing, reaching back to his experience at Butlinâs in 1954 when he saw how a singing group in matching gear claimed everyoneâs attention. Heâd brought the thinking early to John, and John had bought it.
And something else is compelling about this Quarry Men photo: although itâs Johnâs group, new boy Paul is not at the back with Colin or Len, or to the side like Eric, heâs up front with John. Lennon and McCartney are clearly the front line of the Quarry Men, strumming crummy Gallotone and upside-down Zenith, and theyâre the only ones with vocal microphones. The group is the two of them and three others. When one sings lead the other provides harmony; often they sing the lead in unisonâand their voices go together.
â Mark Lewisohn, The Beatles: All These Years (Vol.1) â Tune In. (proof copy) (2013)
âAs they lounged around, so the talk hit on music. Not one to hold himself back, Paul asked John for a go on his guitar, and noticing its strange banjo tuning suggested he could retune it. The way he held the instrument upside down prompted a few sniggers, but after a minute or two of fiddling Paul suddenly stopped and burst into âTwenty Flight Rock.â Here, right away, was talent, already way out of Johnâs league. And it wasnât just that Paul could get through the song from start to finish, singing with a strong rocking voice and playing those chords with confidence, it was knowing all the words. âTwenty Flight Rockâ was tricky⌠and it was another connoisseurâs piece. It hadnât made the charts, so anyone whoâd learned it had gone out of his wayâan expedition made only by the passionate, not something you can fake. After this, Paul went into full exhibition mode, showing off, confident of his ability and aware of his audience. He demonstrated one or two chords he thought the gathering might not have heard, and he played them some other numbers (âBe-Bop-A-Lulaâ was one, something by Elvis surely another). Then, showing real neck, he switched to piano and started belting out his Little Richard routine, yelling alone into the quiet of a cavernous church hall. Paul couldnât have known it, but by slipping into âLong Tall Sallyâ he was sliding into Johnâs main artery. That constantly thrilling, screaming black voice of Little Richard Penniman was now coming out of Ivanâs little mate from Allerton. No matter how much John affected an air of coolness, his insides had to be leaping. Bullseye. Paul McCartney had impressed the guy on whom making an impression was suddenly so vital. Heâd set out to do it and heâd achieved it; a tad eager but trying to hide it, his eyebrows raised, probably biting his lip, talking slightly too fast, switched on, and good. Really good. None of the Quarry Men could do anything like this.â
â Mark Lewisohn, The Beatles: All These Years (Vol.1) â Tune In. (2013) (proof copy)