JOHN: The theme is the dialog between a man and a woman, which is what it is and this album is part 1 of at least 2. That's for sure. And we were originally calling it an Ear Play.
YOKO: Heartplay.
JOHN: Yeah, it went to Heartplay but still contains the word "ear", meaning apart from the, we hope, popular kind of music on it which we like. There's also a theme running through it, and it's also a story. It's a story with not much description, just dialogue. You know those kind of movies? [laughs] Or a radio play, you know, they can't afford to have too much description and long panning shots along the shore and down to the little house on the beach. You just go, on the radio you just hear "shh, shh, shh, shh" and thеy start talking. We've done 22 songs, basic tracks. So thеn it was like having a movie, a lot of movie films or like the way they film two movies and it was a matter of which scene started where and which scene works with the next one. There's been a lot of shuffling around, as you can imagine.
JOHN: I was used to working with other people, but not with women you know.
YOKO: But not with a woman who was a wife as well. Totally different scene, and this time around for some reason, we sort of regained our respect for each other suddenly and maybe through this sort of...
JOHN: I also think this album is just like it's... it's just like the beginning. I think we've got some interesting spaces to go to because we worked together before in many different ways, but still I always had that sort of vague attitude that I was... I was the One. "I know all about this business and I know what a backbeat is," right? Well, now I know that she knows all about this business and she knows what a backbeat is and et cetera [Yoko laughing in background] and I think this is like the first piece of work we've really done together, and for my part, I just know I will even be more wholeheartedly emerged in working with her in the future, because of the experience of doing this album.
You see, in the early days when we were recording together I was having great fun because she was so 'freeform' but when the engineers would talk, Yoko would say, because she's trained musically and I'm not going to go through her list of qualifications 'cause it sounds like I'm promoting her, I don't have to but she knows, she's trained as a musician. Since birth! So when she would say to an engineer in 1968, even though it was a freeform jam, "I'd like a little more treble, a little more bass." or "there's too much of that whatever you're putting on that." they'd say: “What did you say, John?" Now, women are conscious of that now and it's talked about a lot but those days, I didn't even notice it myself and she'd say: "Didn't you notice that when I talk to them, they answer you as if I haven't spoken!" Now I know what she's talking about, especially it's happened to me in Japan, too. Because in Japan, even though I'm well known there, she's the queen of Japan, you know? When they talk in Japan and I say, you know: "A cup of tea, please," in Japanese. They say: "He wants a cup of tea?" to her in Japanese. [All laugh] and so I really know what she's talking about now, but she'd been getting it a long time from engineers and anybody around us. So I really understand it now, not only as a feminist issue, but as a being the 'Other', you know? and there's no more of the 'Other' now.
YOKO: When two get it together there is nothing you can't do. So it's as a power it is very strong. But of course John has a different - I mean he can't help it, with his different history from mine - he's a man and all that, so, he has different dreams, and I have a different dream too. When it happens it's really powerful. But sometimes, two people might be praying but at the same time secretly thinking about something else or what ever, and then it doesn't happen. So, that's sort of unified wishing or praying you know is something that doesn't happen that simply.
JOHN: Well, that shows in the album too because what's happening is instead of, the consciousness is to "let's see what future, or what we," to use a term prayer, "what we shall pray for together. Let's make it stronger by picturing the same image, projecting the same image." And that is the secret.
YOKO: In the Fantasy, of course, in the fantasy world, and you think about fantasy as separate from reality, but fantasy is almost like the reality which is to come, you know. So, in that fantasy world, of course, somebody like George Orwell would have created in 1984. Which is the general trend of the male species, I think, up to now.
JOHN: Hup, Hup. He coughs. [Laughter] Yeah. I agree with that and that's what she told me since we met.
DAVID: Interesting.
JOHN: That's why. I said it badly this afternoon.
YOKO: Heartplay.
JOHN: Yeah, it went to Heartplay but still contains the word "ear", meaning apart from the, we hope, popular kind of music on it which we like. There's also a theme running through it, and it's also a story. It's a story with not much description, just dialogue. You know those kind of movies? [laughs] Or a radio play, you know, they can't afford to have too much description and long panning shots along the shore and down to the little house on the beach. You just go, on the radio you just hear "shh, shh, shh, shh" and thеy start talking. We've done 22 songs, basic tracks. So thеn it was like having a movie, a lot of movie films or like the way they film two movies and it was a matter of which scene started where and which scene works with the next one. There's been a lot of shuffling around, as you can imagine.
JOHN: I was used to working with other people, but not with women you know.
YOKO: But not with a woman who was a wife as well. Totally different scene, and this time around for some reason, we sort of regained our respect for each other suddenly and maybe through this sort of...
JOHN: I also think this album is just like it's... it's just like the beginning. I think we've got some interesting spaces to go to because we worked together before in many different ways, but still I always had that sort of vague attitude that I was... I was the One. "I know all about this business and I know what a backbeat is," right? Well, now I know that she knows all about this business and she knows what a backbeat is and et cetera [Yoko laughing in background] and I think this is like the first piece of work we've really done together, and for my part, I just know I will even be more wholeheartedly emerged in working with her in the future, because of the experience of doing this album.
You see, in the early days when we were recording together I was having great fun because she was so 'freeform' but when the engineers would talk, Yoko would say, because she's trained musically and I'm not going to go through her list of qualifications 'cause it sounds like I'm promoting her, I don't have to but she knows, she's trained as a musician. Since birth! So when she would say to an engineer in 1968, even though it was a freeform jam, "I'd like a little more treble, a little more bass." or "there's too much of that whatever you're putting on that." they'd say: “What did you say, John?" Now, women are conscious of that now and it's talked about a lot but those days, I didn't even notice it myself and she'd say: "Didn't you notice that when I talk to them, they answer you as if I haven't spoken!" Now I know what she's talking about, especially it's happened to me in Japan, too. Because in Japan, even though I'm well known there, she's the queen of Japan, you know? When they talk in Japan and I say, you know: "A cup of tea, please," in Japanese. They say: "He wants a cup of tea?" to her in Japanese. [All laugh] and so I really know what she's talking about now, but she'd been getting it a long time from engineers and anybody around us. So I really understand it now, not only as a feminist issue, but as a being the 'Other', you know? and there's no more of the 'Other' now.
YOKO: When two get it together there is nothing you can't do. So it's as a power it is very strong. But of course John has a different - I mean he can't help it, with his different history from mine - he's a man and all that, so, he has different dreams, and I have a different dream too. When it happens it's really powerful. But sometimes, two people might be praying but at the same time secretly thinking about something else or what ever, and then it doesn't happen. So, that's sort of unified wishing or praying you know is something that doesn't happen that simply.
JOHN: Well, that shows in the album too because what's happening is instead of, the consciousness is to "let's see what future, or what we," to use a term prayer, "what we shall pray for together. Let's make it stronger by picturing the same image, projecting the same image." And that is the secret.
YOKO: In the Fantasy, of course, in the fantasy world, and you think about fantasy as separate from reality, but fantasy is almost like the reality which is to come, you know. So, in that fantasy world, of course, somebody like George Orwell would have created in 1984. Which is the general trend of the male species, I think, up to now.
JOHN: Hup, Hup. He coughs. [Laughter] Yeah. I agree with that and that's what she told me since we met.
DAVID: Interesting.
JOHN: That's why. I said it badly this afternoon.
Comments (0)
The minimum comment length is 50 characters.
Information
Users of Guests are not allowed to comment this publication.
There are no comments yet. You can be the first!