The George Harrison songs rejected by The Beatles https://flip.it/JFbibA
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.
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.”
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.
“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 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:
–Why ‘Ten for Two’ is the John Lennon-Yoko Ono MusicDoc You Haven’t Seen at Lifersthemovie.com:
–John Sinclair-the Beatles Bible:
–Imdb entry for Ten For Two: the John Sinclair Freedom Rally:
–The Ann Arbor Chronocle: The Day a Beatle Came to Twon, from 2009:
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.
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.
Beatles Bible Instant Karma link:
“We got this phone call on a Friday night that there was a rock ‘n’ roll revival show in Toronto with a 100,000 audience, or whatever it was, and that Chuck was going to be there and Jerry Lee and all the great rockers that were still living, and Bo Diddly, and supposedly the Doors were top of the bill. They were inviting us as king and queen to preside over it, not play–but I didn’t hear that bit. I said, “Just give me time to get a band together,” and we went the next morning.”
–John Lennon, 1969
Well, almost. Toronto promoter John Brower was the man who made this historic phone call. But while everyone else had convened at Leeds Airport the following morning, John and Yoko were still in bed, and guitarist Eric Clapton apparently was unaware of the plan. He soon received a call from Brower: “Eric, you may not remember me, but I’m the promoter who lost $20,000 on your Blind Faith show last month. Please call John Lennon, and tell him he must do this or I will get on a plane, come to his house, and live with him, because I will be ruined.”
For this show John had collared a handful of people he knew. Eric Clapton had played the classic guitar line on George Harrison’s song “While My Guitar Gently Weeps” on The White Album the year before, as well as providing lead guitar for John’s performance nine months earlier at the Rolling Stones’ Rock and Roll Circus. Klaus Voormann he’d known since the Beatles’ days rocking Hamburg at the Kaiserkeller club, as well as designing the album cover for Revolver, for which he won a Grammy Award for Best Album Cover, Graphic Arts. Klaus became an accomplished cover artist and from 1966 to 1969 was bassist for Manfred Mann.
At seventeen years age, Alan White chose music over technical school and toured with Billy Fury’s Gamblers and Griffin, the band where John Lennon saw him in a club. At first White disbelieved the call he got from John, thinking he was a prankster, but luckily chose to accept the invitation to play. In 1972 he joined Yes as their permanent drummer.
(Clapton, Lennon & Voorman on the plane to Toronto, 1969)
John reluctantly crawled out of bed. Long story short, they arrived backstage around 10 p.m. and waited in their dressing room before they were announced by guest emcee Kim Foley at midnight. I can’t imagine the kick this concert must’ve been for John, and nerve wracking, since he’d be following on from the idols who’d inspired him to play rock and roll. Actually, I can imagine, since John said as much to Jann Wenner in his historic Rolling Stone interview in 1970:
“I just threw up for hours until I went on. I nearly threw up in ‘Cold Turkey’–I had a review in Rolling Stone about the film of it–which I haven’t seen yet, and they’re saying, ‘I was this and that’. And I was throwing up nearly in the number. I could hardly sing any of them, I was full of shit.”
The Doors headlined the one-day event at the Varsity Stadium of Toronto University. The Toronto Rock and Roll Festival included an all-star lineup featuring legends Bo Diddly, Chuck Berry, Gene Vincent, Little Richard and Jerry Lee Lewis, plus Jr. Walker and the All-Stars. Among the up-and-comers were relative unknowns like Alice Cooper and Chicago Transit Authority, as well as lesser known acts such as Cat Mothers and the All Night Newsboys, Doug Kershaw, Screaming Lord Sutch, Nucleus, Milkwood, Tony Joe White and Whiskey Howl.
It’s not often noted but the other performers were also having a good time. At this point only fifteen years had passed since the birth of rock and roll, and a lot of these guys were relatively young. While this may sound strange to the young people of today, by the standards of the 1960’s rock crowd, they were ancient. The oldest artist was Bo Diddly at age 41, followed by Little Richard at 37; both Gene Vincent and Jerry Lee Lewis clocked in at a youthful 34. Chuck Berry was 43 but he could still play and duckwalk. Yeah, at my age I say people that age are still in diapers. What would that say about John Lennon, who was less than one month away from his 29th birthday?
John stepped in front of a live audience for the first time in three years and said, “We’re just going to do some numbers we know, you know, because we’ve never played together before.” And thar’s how the Plastic Ono Band was born.
While he might have pulled this band out of his ass, and the total rehearsal time encompassed their flight from London to Toronto, they put on a decent performance. They started off with the classics–“Blue Suede Shoes”, “Money” and ‘Dizzy Miss Lizzy”. This would be the second and last time John would perform “Yer Blues” live, again with Clapton as lead guitar, and boy does he love that fuzz guitar.
Then John cut in and said, “This is a song about pain”, before launching into the live debut of “Cold Turkey”. John had not officially recorded the song yet; that would come eight nights later on September 25 at EMI Studios. And thus began a pattern of performing a song live before he’d committed it to vinyl, as he would with his later song “John Sinclair”. It’s not all that unusual; Pink Floyd auditioned future songs from Dark Side of the Moon for months before sitting down to record that classic album. The band managed to hash their way through, though the moaning and shrieking at the end of the upcoming single would be remarkably abbreviated tonight.
Yoko…ah Yoko does her usual performance art wailing. “This is what we really came here for,” John said as he led the audience through a loose rendition of “Give Peace a Chance.”
Then it was Yoko’s turn. For the first two tunes she’d laid on stage in a white bag. Well, now the cat was out of the bag. “Don’t Worry Kyoko” was mercifully short at 4:18 minutes, though it might have felt longer. For her second number, “John, John (Let’s Hope for Peace)”, Clapton grooved on a single riff while Yoko inflicted new dimensions of pain for 12:39 minutes. To be fair the keening was at least tolerable while supported by John’s guitar feedback.
“At the end of “John, John”, all the boys placed their guitars against the speakers of their amps and walked to the back of the stage. Because they had already started the feedback process, the sound continued while John, Klaus, Alan and Eric grouped together and lit ciggies. Then I went on and led them off-stage. Finally I walked on again and switched off their amps one by one.”-
(Group photo of the Plastic Ono Band, 1969)
Toronto was a turning point for John. It gave him the confidence to step beyond the outsized shadow of the Beatles. On the plane ride over he’d already confided to Allen Klein that he was leaving the group. A week after the festival, John told the group, “I want a divorce.”
the Toronto Dreams Project Historical Ephemera blog:
Beatles Bible entry on the Toronto Festival:
Available on: On September 25, on the eve of the release of Abbey Road, the actual final album by the Beatles, John mixed the tapes of the Toronto concert into stereo at EMI Studios. These were taken to Apple by Geoff Emerick. The album cover was gorgeous in its simplicity, a single puffy cloud on a sky-blue backdrop. Live Peace in Toronto 1969, the first record by the Plastic Ono Band, was released on December 12, 1969.
An early version of “John, John” could be heard at the beginning of “Amsterdam”, which is a collage of musical interludes and dialogue taken from their first bed-in earlier in 1969. That track takes up the entire second side of John & Yoko’s Wedding Album, released October 20, 1969.
Famed filmmaker D.A. Pennebaker was on hand to record most of the concert, released in 1971 as Sweet Toronto. Then at one early screening Janis Joplin called out during a song by Chuck Berry, “Keep On Rockin’!”, which became the title of the 1973 version without the John & Yoko sequences. The full film would not be seen again until its re-release in 1988 for television and home video as John Lennon & the Plastic Ono Band Live in Toronto ’69 by Shout Factory.
Mikes’ latest book, FATHERS AND DAUGHTERS, is available at amazon.com.
Mike’s Amazon page:
“Rocket Man ” was the first Elton John song that I fell in love with. It wasn’t even mine, my brother Kenny bought it, god rest his soul. The first single I bought on my own was “Daniel”, which I traded away. I guess I was disappointed at the time because it wasn’t a rocket like lot of his stuff was. Today I can say, “you IDIOT, why would you give that record away? It was a great song!” Maybe I share Elton’s lack of judgement; in his recent book Me, he admits that he thought “Don’t Let The Sun Go Down On Me ” was a terrible song: funny how things will look so different in retrospect.
He was fortunate to have ‘come out ‘ in 1967, the very year that the UK struck down its law making homosexuality illegal. Or we should say he was Found out by his boss Long John Baldry: “Oh come on, don’t you know you’re gay?”(or words to that effect).
It never bothered me that Elton was bi or gay or whatever. I just loved the music, his preferences were his own business. Gay wasn’t a thing people talked about when I was growing up, at least not around me, so I didn’t have a chance to be indoctrinated by anybody’s paranoid ravings. It’s just funny now. For instance I always liked Queen from the beginning and I never got the gay reference in their very name. Didn’t know, didn’t care. Those fellas could still rock.
Elton’s early records came out on the Uni label, a division of MCA Records, which is how his early singles like “Rocket Man ” looked like that in America but by the time “Daniel ” came along everything was on that black MCA label.
Oddly enough the songs I listened to first weren’t actually sung by Elton. “Lady Samantha” was a song I loved and picked up on my dad’s Three Dog Night record from 1969, ‘Suitable For Framing “. I remember we were at his cabin in Lake Land Village, a development over the Tacoma Narrows Bridge near Allyn, Washington. Three Dog Night was also the first band I heard doing “Your Song ” on an album I got for Christmas of 1971, “Golden Biscuits “. Elton’s version was already a year old by then.
Of course he was also notable for announcing that he was retiring, and then coming right out of retirement a few months later. For some reason retirement just didn’t seem to take with Elton. The first time he said that was 1976 or ’77: didn’t last long. He’d be in a slump for a while but that was okay: he’d give himself a jumpstart like his live Melbourne shows in ’86 or ‘The Lion King ‘ soundtrack.
Maybe I also liked Elton because he wore glasses. So did John Denver but see the thing was, in the 1970s glasses were not sexy. I always wore glasses and I was never good at sports at any level of schooling. If you wore glasses, you were a four eyes: if you couldn’t play ball, you were a faggot–sorry, their words.
Elton wore ’em, so did John Lennon. Not only that but Elton made them a fashion statement. He had a gift for flamboyance unmatched in the rock world, which is saying something considering it was par for the course with acts like David Bowie and KISS on the loose. I always appreciated Elton’s music and his example, and I thought I’d say so now.
The foregoing was inspired by Elton John ‘s 2019 biography Me, published by Henry Holt and Company.
(photo by Roy Kerwood, May 1969)
I may be cheating, ’cause technically this isn’t a live number at all. It wasn’t even recorded at the same bed-in. The first bed-in, immortalized in the soon-to-be borning single “The Ballad of John and Yoko”, began March 25 to 31st in Room 902 at the Amsterdam Hilton, the Netherlands, five days after their wedding in Gibraltar. Media saturation was the key, bringing in TV and film interviewers, or anyone with a camera or tape recorder to hear their message of peace. Of course it was all recorded and released as film and audio.
For the second bed-in they settled into Room 1742, Hotel Reine-Elizabeth in Montreal, Quebec. From May 26 to June 2nd, they again hosted radio and TV broadcasters, journalists and other visitors, and on the second-to-last day recorded one of the most enduring peace anthems of our generation in five minutes flat. It was taped on borrowed equipment with John on acoustic guitar and a host of friends chanting along to the chorus. A simple song with a powerful and irresistible message. Soon it would be established as part of John’s concert entourage, in one form or another.
Single release date: July 4, 1969 (UK)
Available on: Apple single 1809, anthologized on Shaved Fish (1975), The John Lennon Collection (1982 Geffen), Lennon Legend (1997), Working Class Hero: the Definitive Lennon (2003), Power to the People-The Hits (2010). A rehearsal recording was released on John Lennon Anthology, CD-1 Ascot (1998).
Selected audio highlights from the first bed-in from Amsterdam comprised Side Two of their last experimental LP, The Wedding Album, released November 7, 1969.
Filmed highlights: Honeymoon (1969, 60 minutes), Imagine: John Lennon (1988), John and Yoko: the Bed-In (1990 home video), Bed Peace (2011)
The Beatles Bible: