Tag: Classic Rock

Remembering Jackson Browne’s Running on Empty (1978)

This album was sitting prominently on a bookshelf at our county library when were living in University Place, Washington in 1979. The cover grabbed me; art is more impactful when its spread over a 12-inch surface and not squashed onto a five inch CD case. I took it home in a paper bag. Back then I walked everywhere, even to school.  

My memory is that I loved that album; maybe I loved some tracks more than others. I wasn’t too familiar with Jackson Browne. I blame FM radio. The only song I’d ever heard from him was back in our house in Fircrest, “Doctor My Eyes”, back in 1972—six years before! I hear “The Pretender” on my store’s radio network NOWADAYS, but most AM-FM stations only played the hits. Critics may have loved him, but most of us (myself at least) were oblivious. After 1979 and checking out that LP, I was more aware of Browne and paying attention more when his songs hit the airwaves.     

This LP was recorded on the road, either in concert or into hotel rooms, backstage in at least one case (“Nothing but Time”) on a bus in New Jersey on the way to another gig. Basically it was a travelogue of musicians, by musicians, about life on the road. “Running on Empty”, “The Load-Out” & “Stay” were recorded live at Meriweather Post Pavillion in Columbia, Maryland. “You Love the Thunder” was performed at Garden State Arts Center in Holmdel, New Jersey, while “Love Needs a Heart” was taped in Universal City, California.

Some songs were meant to stick out. The big hit getting airplay in the summer of ’78, along with the music from Grease, was “The Load-Out”, which segued into a cover of Maurice Williams & the Zodiac’s “Stay”. “Stay” was the A-side of a double sided single, backed on vocals by Rosemary Butler and David Lindley on falsetto in the second verse. (To be fair, the Zodiac’s version was short at 1 minute, 36 seconds long).     

Other tunes I no longer appreciate on principle, such as “Cocaine”, recorded in a hotel room at a Holiday Inn in Illinois. Having seen the damage drugs had done to my family in the ‘70’s, I’m finding myself of the permissiveness, and also sad for all the artists buried by their addictions.        

Some songs I understand better, now that I’m older, especially the title song. No that I’m a musician, but I can relate. The verses make sense in a general way, like this one:

I look around for the friends that I sued to turn to to pull me through/     

Lookin’ into their eyes, I see them runnin’ too

Blue Oyster Cult: Some Enchanted Evening (1978)

I found this in one of those cut-out bins at a local drug store in 1979; that must have been 45 plus years ago. I don’t know why it was in a cut-out bin, it was an extraordinary album. It was my first experience with Blue Oyster Cult. Apparently, the best way to listen to this band is in a live setting. It’s actually their second live LP, after 1975’s On Your Feet or On Your Knees. This record’s only sin is that at 38 minutes, it’s too damn short.     

The classic line-up is here—Buck Dharma on guitars, Eric Bloom on vocals & stun guitar (whatever the hell that is), Allen Lanier on keyboards, Joe Bouchard on bass, and his older brother Albert Bouchard on drums. Four of the numbers are from their most recent albums (‘R.U. Ready to Rock’ and ‘Godzilla’ from Spectres (1977), and ‘E.T.I. (Extra Terrestrial Intelligence’ and ‘(Don’t Fear) the Reaper’ from Agents of Fortune (1976)). Only one song originates from their early albums (‘Astronomy’, from Secret Treaties (1974), but then they’d only released five albums at this point. The last two numbers are cover tunes.

The cover reaches out and grabs you. The Grim Reaper rides a black horse over a desert landscape. T.R. Shorr (ie, Todd Shorr) painted it based on a concept by Hillary Vermont and Marty Pekar, with Andrea Klein for the sleeve design. This album recalls the times in the 1970’s when Metal gave the impression of obscure meanings in mystic lyrics.   

This was recorded at different venues, for instance at the Fox Theatre, Atlanta, Georgia (‘R.U. Ready to Rock’ & ‘Kick Out the Jams’); the Columbus Municipal Auditorium in Columbus, Georgia (‘E.T.I.’ & ‘Astronomy’), both in April, 1978; New Castle City Hall in the UK, June 1, 1978 (‘Godzilla’ & ‘We Gotta Get Out of This Place’). ‘(Don’t Fear) the Reaper’ was recorded live at Barton Coliseum, Little Rock, Arkansas on April 9, 1978.

The show launches off with a kick-ass rendition of ‘R.U. Ready to Rock’ and never lets up on the momentum. Donald “Buck Dharma” Roesner cranks out some masterful solos without a trace of the self-indulgence Led Zeppelin was known for. Not one song overstays its welcome. I didn’t know MC5 growing up, but I think BOC took their version of ‘Kick Out the Jams’ and made it their own.      

I first heard ‘Godzilla’ on one of those late-night rock concert shows they had in the 70s, Night Flight maybe, with a Godzilla head bobbing in the background. I couldn’t believe somebody had actually done a song about him. I’ve always been a Godzilla fan, having watched a lot of admittedly dubbed movies on Saturday afternoon reruns. That song captures the grandeur and sheer terror, the force of nature that is Godzilla.     

Everybody knows (Don’t Fear) the Reaper’; it’s the only BOC song they’ll play on the radio these days. This performance from Arkansas is more energetic than what we heard on vinyl. Eric Bloom channels Eric Burdon’s vocals on the closer, “We Gotta Get Out of This Place”, and it’s just possible BOC exceeds the Animals on this tune. I know there’s an expanded version on CD somewhere out there, but this LP remains a treasured favorite. You need to try it sometime.

John & Yoko live at the Jerry Lewis Telethon/ September 4, 1972

The Jerry Lewis Labor Day Telethon was a mainstay of our youth. You’d know every fall exactly when Labor Day came around because that was always the day Jerry Lewis held his annual fundraiser for the Muscular Dystrophy Association. Coincidentally this was also held the day before school started up again in the fall.  For 24 hours that telethon dominated our local broadcast, featuring musical acts, celebrities and others all called together for the cause.

Four days after his monumental One on One concert in Madison Square Garden, and a year after George Harrison’s historic Concert for Bangladesh, coincidentally also at the Garden. The couple’s association with Yuppie radicals like Abbie Hoffman & Jerry Rubin brought the FBI to focus an investigation on them and their suspected plans to disrupt the National Republican Convention scheduled for August 21-23, 1972, in Miami Beach FL, the same city where the Democratic Convention was held that year..

Although Hoffman & Rubin were in love with the idea, John & Yoko had no part in any such plans, and the convention went on despite anti-Vietnam War protests on August 22. John & Yoko would face deportation in 1972, based on a past marijuana charge in the UK. While Yoko was granted permanent resident status in 1973. John was ordered to get out. Such was the backdrop to this seminal performance.

The 1972 Muscular Dystrophy Telethon was broadcast from New York City’s Americana Hotel on 7th Avenue. Jerry Lewis began his intro: “Ladies & gentlemen, presenting, and I’m proud to present, two of the most unusual people in all the world, and I don’t mean just in the world of entertainment. They fit no patterns, meet no standards except the standard of excellence. Ladies & gentlemen, John Lennon & Yoko!”

They were joined for the last time by their unofficial backing band, Elephant’s Memory. John sported a faint mustache & beard as he segued into another heartfelt performance of “Imagine”. John couldn’t do a bad version, and here, on keyboard instead of piano it has more of an ethereal tone. He was joined by the saxman on the first bridge, which always brings a bit of soul to any song.

And no, I won’t be excluding Yoko from this. Introducing the second number, she said, “John & I love this country very much and we’re very happy that we’re still here.” This led to “Now or Never” a peace song from her upcoming LP Approximately Infinite Universe. Apparently she was trying it out on a live audience before committing the song to vinyl, just as they’d done with ‘Cold Turkey” in 1969.  There was no screaming this time, instead taking a turn at a folksy style, again highlighted by a saxophone backing.

Next, John praised Jerry as “a great comedian–I wish he never grew up!” He closed with a reggae version of “Give Peace a Chance”, just as they had at the evening show for the One on One concerts. “This is how they do it in Jamaica!” John called, inviting the audience to sing along. This was at a time when most Americans hadn’t had much exposure to reggae. Bob Marley & the Wailers breakthrough in America, Catch a Fire, would not be released until 1973. Johnny Nash’s hit “I Can See Clearly Now” wouldn’t begin to chart until October 1972, the month following this performance.

This would be the last time he performed “Give Peace a Chance”. The sax certainly livened things up, but it didn’t quite hold up to the standard version offered up three years in Toronto. To their credit, the audience seemed charged up throughout the show. While Yoko encouraged viewers to give, John shouted “no more war!” Jerry Lewis joined in with a trumpet to dance with John & Yoko onstage. Even John joins in with the shouts for “money money money!”

Jerry led the audience in a call for an encore: “John, Yoko, John, Yoko!” But as has often been said of Elvis, they had already left the building. Once he realized they weren’t coming back, Jerry covered himself admirably. “I would suspect that John Lennon is probably one of the wisest showmen I’ve ever met,” he said. “He knows what he’s doing. He did two things tonight. He, one, came here to help, the primary purpose of his visit. And two, he meant to say something. I think he did both these things. He has split. Let’s thank him very much.” This was met with the appropriate applause.

Sidebar: Hot Chocolate Covers ‘Give Peace a Chance’

Years before they dropped hits like “You Sexy Thing” and “Every 1′ a Winner”, the Caribbean-British band Hot Chocolate recorded their first single, a reggae version of ‘Give Peace a Chance” where they changed some of the lyrics. One problem, though: then-band leader Errol Brown was told he needed permission.

Brown probably never expected John Lennon to approve, but when Apple Records contacted him, John not only approved but he agreed to release their version on Apple. Recording as the Hot Chocolate Band, their only single on the Apple label was released in October 1969.

The Apple connection fell apart with the Beatles’ breakup, but this interpretation might be where John got the idea to perform reggae versions of “Give Peace a Chance” at both the One on One concerts and the Jerry Lewis telethon.

https://www.songfacts.com/facts/john-lennon/give-peace-a-chance

Two months later in November 1972, Richard Nixon won re-election by a landslide. In April 1973 John appealed his deportation order and with Yoko, declared a new conceptual country, Nutopia with the slogan, “No land, no boundaries, no passports, only people…No laws other than cosmic.” His Lost Weekend was not far off.

In May of 1972 John & Yoko moved from their Bank Street apartment to their lifelong residence at the Dakota. John’s appearance on the Jerry Lewis Telethon would be his last public performance for the next two years, his last with Elephant’s Memory and in fact his last live appearance with Yoko. The Lennon’s Peace campaign had effectively been stymied by the Nixon Administration’s paranoid efforts to get John deported. The legal fight would consume the next couple of years of John & Yoko’s lives.

John Lennon battled the deportation proceedings until October 8, 1975, when the deportation attempt was barred. In what would become the foundation for DACA, a Court of Appeals stated: “the courts will not condone selective deportation based upon secret political grounds.”3 Leon Wildes’ strategy had worked, he successfully demonstrated that just because the government could deport someone did not mean there was an obligation to deport the individual. In 1976, Lennon became a permanent resident.

Immigration Show: John Lennon’s Immigration Case for DREAMers

Jerry Lewis hosted his first MDA telethon on September 4, 1966. He would continue to serve in that capacity from 1968 to 2010, raising 2.45 billion dollars for the MDA. The telethons continued, with other hosts, until 2012. Jerry passed away on August 20, 2017, aged 91 years.

https://madelinex.com/2017/09/04/john-yoko-bring-peace-to-jerry-lewis-labor-day-telethon/

Availability: Officially John Lennon’s performance on the Jerry Lewis Telethon has never been up for release, but that’s never stopped bootleggers. One source is a 1996 item, John Lennon-Telecasts (JL-517-CD), label unknown. This collects his performances on David Frost, Dick Cavett & Mike Douglas in 1972, including the Jerry Lewis program.

The concert can be found on several YouTube channels. We also have more options on DVD, again via bootleg. As far as listing every relevant bootleg, this is in no way to be considered inclusive. The Complete Live Lennon Tapes (misterclaudel 4637577, c. 2006) may be true to its word. Along with Jerry Lewis, it contains performances from the Rock & Roll Circus, the Fillmore East with Frank Zappa, the John Sinclair benefit, David Frost, the Attica State benefit (without Yoko), Mike Douglas, Dick Cavett, Madison Square Garden with Elton John, the Old Grey Whistle, A Salute to Sir Lew Grade, as well as seven tracks from the evening One on One concert.

From HMC’s TMOQ Gazette series comes John Lennon-Holy Grails, Upgrades & Reconstructions Vol. 1 (TMOQ Gazette HMC 042), which among other items, includes news footage from the Bryant Park Peace rally, as well as two versions of the Labor Day Telethon, in color and B&W.

Among the curiosities on The John Lennon Anthology, on CD 2: New York City. While Track 20 is labelled “Jerry Lewis Telethon”, all it offers is Jerry Lewis’ call for an encore & his gracious speech once he realizes they were gone.

The John Sinclair Freedom Rally, December 10, 1971, Ann Arbor, Michigan

D-010 John Sicnlaire Ten for Two

 

Available On: “The Luck of the Irish” and “John Sinclair” were anthologized twice, first on The John Lennon Anthology, CD 1’Ascot’ (1998); and later on John Lennon: Acoustic (2004).

The concert film, Ten For Two: The John Sinclair Benefit, may never see official commercial release. Previous attempts have met with opposition from Yoko Ono’s attorney. At times it has been free to view on YouTube, though one never knows when it might be yanked again.

 

Clips from Ten for Two opened the 2006 documentary, The U.S. vs. John Lennon, which chronicled the Nixon Administration’s campaign of harassment against the Lennons.

Everything changed with this performance. The show John and Yoko had done several months before with Frank Zappa had been pure spontaneity from inception to stage. The rally in support of activist John Sinclair was provocative to the powers that be, and the powers shoved back. This show put John Lennon firmly on Richard Nixon’s radar and incepted the four-year immigration battle to eject John forcibly from U.S. shores. Consequently it could be said to be the first stone pitched that inevitably led to his hiatus from music and an end to activism on both their parts.

 

Only four months had passed between the John Sinclair Freedom Rally and the Concert for Bangladesh initiated and hosted by fellow Beatle George Harrison. There was a world of difference between these two events. The Bangladesh shows were a warm and welcoming charitable event that set the standard for all rock benefits to come. The Freedom Rally was a political, even radical reaction against injustice.

Given that, it was still one of those events where music could still make a difference, could literally open doors to freedom, before the music industry eviscerated itself in our times.

 

Likewise, some Presidents improve with time, the more you read about them; sometimes their achievements overshadow the man’s myriad personal flaws and sins. Richard Nixon, to be sure, is not one of those men.

 

Beginning in 1968, poet and activist John Sinclair from Flint, Michigan pulled together a rumply band of associates to form the White Panther Party, cofounded with Pun Plamondon and his wife Leni Sinclair. The Party’s basic ideology was anti-racist, anti-capitalist as well as “fighting for a clean planet and the freedom of political prisoners”.

 

Among his associates were a group of young musicians, soon to be known as the MC5. (They released one album under his management, the classic live disc Kick Out the Jams in 1969, before Sinclair had his own problems to deal with). In 1969 Sinclair was arrested after offering two joints to an undercover narc and sentenced to ten years in prison. The severity of the sentence led to many counterculture protests, leading to this rally, which drew 15,000 people to Crisler Arena in Ann Arbor, Michigan.

ten for two orig. poster

The rally featured as many speeches as it had musical performances, from firebrands such as Black Panther Bobby Searle, Alan Ginsberg, Jerry Rubin, Rennie Davis and others.  Among the many performers featured in the film Ten for Two were Ann Arbor’s own locals The Up, Bob Segar doing a raw, classic rendition of “Oh Carol” as well as jazz saxophonist Archie Shepp with trombonist Roswell Rudd (Nov. 17, 1935-Dec. 21, 2017).

 

Phil Ochs (who committed suicide five years later) offered an eerily prescient monologue before performing “Here’s To the State of Richard Nixon”, a song about Nixon’s future that could be held up as a mirror facing the Trump era. The most worrisome aspect of the anti-Nixon feeling at this concert was that Tricky Dick got re-elected by a landslide a year later, despite people knowing what the man was like and the terrible things he’d done In Cambodia and Vietnam.

 

A phone call from Sinclair in prison was intercut in the Ten For Two film with shots of the prison yard and the prison interior. Commander Cody and the Lost Planet Airmen stepped up next to perform “Hot Rod Lincoln”. Then Sinclair’s wife Leni took the stage, bringing on the big guns: Sinclair’s mother, Elsie. “I can tell you young people, you can teach more to your parents than your parents can teach you.”

 

21-year-old Stevie Wonder took center stage to sing “For Once in My Life”. Now it’s scenes such as this that make these films like a time machine. it is so strange to see Stevie Wonder so young, so trim again. “This song goes out to any of the undercover agents who might be out in the audience,” he said by way of introducing the next number, “Somebody’s Watching You”. In closing he sang “Heaven Help Us All.”

JC Ten for two Stevie Wonder

David Peel and the Lower East Side came on with a satirical number, “The Ballad of Bob Dylan”, followed by John Lennon and Yoko Ono at 3 am in the morning. Peel and band stayed on as John’s backing group. This was John and Yoko truly unplugged, all acoustic. None of the songs they would perform that night had been committed to vinyl; all of them were new to the John Sinclair rallygoers. All four would appear six months later on Sometime in New York City, by which time certain songs would no longer be applicable.

 

Both John and Yoko wore black leather jackets and red undershirts, and they began with “Attica State”. “It was conceived on my birthday,” John said. “We adlibbed it, then we finished it off.”

 

The genesis of “Attica State” could be laid at John’s 31st Birthday party on October 9th, only two months prior to this event. After the opening of Yoko’s art exhibition This Is Not Here at the Everson Museum of Art in Syracuse, New York, a party was held at a nearby hotel. Composition of the song began before the party. All the guests joined in for a drunken all-star singalong captured on tape, like most of John and Yoko’s activities. Ringo Starr was a much better singer than anyone else at the party, his voice carrying much clearer–and less drunk, perhaps.

Married singer musicians Yoko Ono and John Lennon (1940 – 1980) perform at the ‘Free John Now’ rally at Crisler Arena , Ann Arbor, Michigan, December 10, 1971. Political activist Jerry Rubin (1938 – 1998) (center, rear) plays bongos with them. The rally was in support of imprisoned White Panther leader John Sinclair. (Photo by David Fenton/Getty Images)

“Attica State” wasn’t much on the bootlegged tape, mostly the ‘Attica State’ tagline repeated over and over, like he was pulling the song out of thin air. There at Ann Arbor, John and Yoko harmonized while John was on acoustic guitar and Yoko accompanied him on a bongo drum tucked under her arm. They went right into “The Luck of the Irish”, which was as good or better than the studio version yet to come.

 

Yoko took over for “Sisters O Sisters”. “I wrote this song day before yesterday for (our) sisters in Ann Arbor, Michigan,” as Yoko put it. For the first time in a live performance we could hear what a gorgeous voice Yoko has–when she’s not shrieking. After that number, John commented, “We came here not only to help John and to spotlight what’s going on, but also to show and to say to all of you, that uh, apathy isn’t it, and that we can do something. OK, so flower power didn’t work, so what? We start again.”

john and yoko at ann-arbor

John went electric for a bluesy slide guitar performance of “John Sinclair”, a lesser anthem in the vein of “Power to the People” that closed the show. This time, the gloves were off. He got the judge’s name wrong, but it’s all in the lyrics. Line by line it was a crucifixion; each line was an accusation. The strings twanged as he laid bare the sins of the State crushing down on one man for a minor infraction, and the crowd ate it up. That night John and Yoko left the stage on top and on message.

Ironically the song became irrelevant before it was officially recorded. Three days after the rally John Sinclair was released from prison, after the Michigan Supreme Court ruled the state’s marijuana statutes were unconstitutional.

His case against the government for illegal wiretapping led to a monumental Supreme Court ruling, United States vs U.S. District Court (1972), which prohibited the U.S. government’s use of domestic wiretaps without a warrant.

Eventually Sinclair left the U.S.  and moved to Amsterdam, where he continues to record and write. Since 2005 he’s hosted The John Sinclair Radio Show and other programming on his own radio station, Radio Free Amsterdam. For John Lennon, his troubles were only beginning…

 

–The MC5 and John Sinclair: The Rock & Roll Revolution Began in Detroit at PleaseKillMe.com:

https://pleasekillme.com/detroit-mc5-john-sinclair/#:~:text=John%20Sinclair%2C%20a%20born%20leader%20and%20naturally%20charismatic%2C,of%20both%20the%20White%20and%20Black%20Panther%20parties.

–Why ‘Ten for Two’ is the John Lennon-Yoko Ono MusicDoc You Haven’t Seen at Lifersthemovie.com:

Why “Ten For Two” is the John Lennon-Yoko Ono Music Doc You Haven’t Seen

–John Sinclair-the Beatles Bible:

John Sinclair

–Imdb entry for Ten For Two: the John Sinclair Freedom Rally:

https://www.imdb.com/title/tt0318115/

–The Ann Arbor Chronocle: The Day a Beatle Came to Twon, from 2009:

https://annarborchronicle.com/2009/12/27/the-day-a-beatle-came-to-town/index.html

 

Instant Karma 1970

john top of pops 1

I think I begged my first grade school teacher to take me to the record store to get this single. Funnily enough I was unaware at the time that John had shaved his head. At the beginning of that year he and Yoko was vacationing in Aalborg, Denmark to be with Yoko’s daughter Kyoko, which was where the young girl was living with Yoko’s second husband Tony Cox and his new wife Melinde.

For reasons unknown, possibly to keep up the profile with their peace campaign, John and Yoko cropped their hair the shortest it’d ever be in John’s adult life. On February 4th,  1970, they swapped their shorn locks for a pair of Muhammed Ali’s boxing shorts, which they said they intended to auction off to raise money for peace. That’s the crew cut you’ll see in their Top of the Pops gig.

John was mostly quiescent as far as live appearances go in 1970. That’s okay, he’d make up for it in 1971. He was continuing the peace campaign he and Yoko had begun at the Amsterdam bed-in the year before. He was also undergoing primal scream therapy with Dr. Janovich. This would inevitably led to the quality and intensity of his masterpiece John Lennon Plastic Ono Band.

“Instant Karma” was recorded in a single night, January 27, 1970, in a single nine-hour session. The producer was Phil Spector, and this led to a long-standing working relationship between him and John and George as well. This would also lead to Spector invitation to remix the Let It Be album.

“It was great, ’cause I wrote it in the morning on the piano, like I said many times, and I went to the office and I sang it. I thought, ‘Hell, let’s do it,’ and we booked the studio. And Phil came in, he said, ‘How do you want it?’ I said, ‘You know, 1950 but now.’ And he said ‘Right,’ and boom, I did it in just about three goes. He played it back, and there it was. I said, ‘A bit more bass,’ that’s all. And off we went. See, Phil doesn’t fuss about with fuckin’ stereo or all the bullshit. Just ‘Did it sound alright? Let’s have it.’ It doesn’t matter whether something’s prominent or not prominent. If it sounds good to you as a layman or as a human, take it. Don’t bother whether this is like that or the quality of this. That suits me fine.”

-from Lennon Remembers, Jann S. Wenner

John recruited George Harrison on lead guitar, Billy Preston on electric piano, Alan White driving the thundering drums & Klaus Voorman as bass man. John provided acoustic guitar on the single. The mass chorale and handclaps closing the single was provided by Yoko and the patrons from Hatchetts, a local London nightclub.

On Feb. 11 1970, the Plastic Ono Band taped two versions of “Instant Karma” for an appearance on the BBC program Top of the Pops, for later broadcast on Feb. 12 and 19th, respectively. Technically , this was not a live performance apart from the actual appearance of the band. Actually it wasn’t even the same band.

John sang a new vocal on top of a single-track vocal and instrumentation from the January 27th EMI recording session. The prime difference between the two versions being that in one Yoko would be seen knitting, while in the second she was holding cue cards. John sat in and sang behind piano while Yoko did her things, blindfolded with a sanitary towel, beside it. Neither George nor Preston were present. BBC DJ BP Fallon mimicked sitting in on bass, Mal Evans in a business suit was on tambourine, along with actual bass player Klaus Voorman. The first version with Yoko knitting was broadcast Feb. 11 while the second was transmitted on Feb. 19th, the following week.

john top of pops 2

For the cue card performance John bangs on the piano in a denim jacket with a “People For Peace” band wrapped on arm while go-go dancers frolic in the background. (By the way, the cards say ‘smile’, ‘peace’, ‘love’ ‘hope’ and ‘breathe’. With reverb over the microphone he delivers a very intense vocal, gritting his teeth for the final verses while Klaus and BP mime on bass.

Available on: It’s hard NOT to find this on home video. The ‘cue card’ version appeared on The John Lennon Video Collection VHS from October 1992. The ‘knitting’ performance shows up most on DVD, first on Lennon Legend: The Very Best of John Lennon, a 2003 set accompanying the CD of the same name. Apparently for this collection, they changed the original audio track, replacing the live vocal with the clean studio track. This version was also released on Power to the People: the Hits, the CD/DVD Experience Edition from 2010.

john lennon vid coll     lennon legend.jpg2    john power

Beatles Bible Instant Karma link:

Instant Karma!