Excerpt from
The New York Times, December 9, 1980
. . . Lennon was returning home
from a recording session when he was shot five times in the
shoulder and chest in front of his Central Park West apartment.
Alleged gunman, Mark David Chapman, when asked if he knew what
he'd done, reportedly replied, "I just shot John Lennon."
Chapman made no effort to avoid arrest, but instead sat on the
sidewalk reading a book until the police arrived.
Fans and admirers continue to
flock to the site of yesterday's shooting, many erecting
makeshift monuments and singing "All You Need is Love," one of
the last songs Lennon recorded with his former band, The
Quarrymen, before breaking ties with longtime collaborator Bob
Wills. Janet Lumley, who was in attendance when the Quarrymen
made their now famous appearance at Shea Stadium, flew in from
Boston to pay her respects.
"This is horrible. That he
could be murdered like that. How are you supposed to deal with
something like this? The world has lost the greatest country
songwriter of the past thirty years."
Excerpt from
Can't Buy Me Faded Love – The Unauthorized Legend of The
Quarrymen, Ernest and Shultz, 1989
There can be little
doubt that the most important pairing of musicians in the
twentieth century occurred in Austin, Texas on a hot July
evening in 1961. Having traveled to America less than six
months earlier from his home in Liverpool, England, a young man
with "too-long" hair and a slick new Telecaster reached out and
seized his destiny.
"I heard about the
Playboys going on tour that summer and I had to be there," said
Lennon in a 1978 interview with biographer, Lon Haines. "Much
of Bob's original success came before I was born, but I was a
fan. More than a fan, really. That music was my life when I
was a kid. My aunt used to play those 78's all the time, all
the old Western Swing bands, but especially the Playboys. I
never knew my father, but I remember listening to those songs
and wondering if he might have gone to America to become a
singer. Maybe Bob Wills was my dad, you know? I was a kid
then. I reckoned Bob was the singer since the band was named
after him. Later on I understood that it was his fiddle playing
that really inspired me. It made me sad. It made me long for
something. A father, maybe, but something else too. I wanted
to be in America, and I wanted to make that kind of music."
Lennon quit his job
in the Liverpool shipyards and informed his then band mates that
he was leaving for the United States as soon as he could book
passage on a ship.
"Don't remember
where the name came from," said Lennon, "but we called our band
The Beatles. We played some swing, some skiffle, and that was
popular at the time, but mostly we played rock and roll. It was
the hot thing and all the lads, especially Paul and Stu, were
big Elvis and Little Richard fans. I liked the music too, but I
reckoned it was a fad. Swing was king, and it was primed for a
comeback. Needless to say, we didn't see eye to eye. I invited
them all to come along with me, but they took it as a personal
slight that I would consider leaving. I was gone a week later,
and I never heard from any of them again."
Bob Wills recounted
that first meeting with the twenty-one year old Lennon in a 1972
interview with Life magazine. "He was the scrawniest
thing I ever saw. Looked like he hadn't eaten in a week. He'd
been following us from town to town, hanging out at the shows
with his guitar, always sitting right at the edge of the dance
floor. Staring like he was studying up on us or something. The
only reason I noticed him was that long hair of his. That was
before it caught on, of course. He was crazy as a loon for
going around wearing long hair and a leather jacket in the type
of bars we was playing. But he didn't know no better.
"So that night in
Austin, he gets there while the boys are setting up and begs me
to let him sit in on a few songs. Tells me he came all the way
from England to join my band. I laughed and thanked him for
being such a fan, but there wasn't no way I'd let a stranger up
on stage with us. Then he pulls out that blonde Telecaster of
his -- and I guarantee by the look of him he must have bought
that damn thing with the last pennies in his pocket -- and he
starts them fingers dancing on the strings. Aw, lord! You know
what that sounded like. I never heard anyone play like John,
before or since.
"Still, I didn't
invite him on stage until near the end of the set. I'm not sure
why I even did it, but I did. I still remember the look in that
kid's eyes when he stepped up there in his pointy shoes and beat
up jeans. Everyone loves him now, but I'll testify the people
in that bar didn't know what to make of a longhair taking the
stage with us. Until he plugged in that guitar and we kicked
into 'Take Me Back to Tulsa.' He changed a lot of minds
that night. Mine included."
Postcard from Bob Wills to Al
Stricklin, July 13, 1962
Al,
Howdy from Austin!
We still plan on being there the twenty-first. Always love
coming back to Fort Worth. I'm bringing this kid with me that
plays guitar like nobody you ever seen. He's a character, come
all the way over from England. Wait till you hear him!
See you soon,
Bob
Excerpt from an interview with
Al Stricklin, Honky
Tonk Keys, December, 1979
"I was back running
a Saturday night country broadcast then, this time for WBAP, and
it suited me fine. I remembered my days touring with Bob
fondly, but being on the road all the time takes it out of you.
I was glad to have Bob back in the studio, though, and
interested to hear this new guitar prodigy he'd been bragging
on.
"First time I saw John he was
wearing a new felt cowboy hat. Trying to be like Bob, I guess.
But he looked out of place. The kid had more rock and roll in
him than he cared to admit. He was a humble guy, helped
everyone set up for the show, even helped set up the drums.
"We went live and I chatted
on-air with Bob a bit, then the band kicked in with the Texas
Playboy Theme. When John's solo came up, my jaw hit the
ground. Bob was right; the kid could play. I was sitting in
with the band for old time's sake, and I swear that kid playing
like that inspired me. I pounded the keys that night like I
hadn't in years. I ain't lying when I tell you right then I
knew John Lennon was something special. Bob knew it too. You
could see it in his eyes."
Letter from John Lennon to his
Aunt Mimi
15 August, 1962
Auntie,
I'm in Texas! Sorry it's been
a while since I wrote, but I think you'll be proud of me. I
know how you are about the music of Mr. Bob Wills and so it
might surprise you to learn I've been playing guitar in his
band! Last month we played on Mr. Al Stricklin's country radio
programme and he even let me play some of my songs for him.
Remember "Love Me Do?" You said you liked that one. Well, so
did Mr. Stricklin, and he suggested to Mr. Wills that he record
it. Mr. Wills has agreed to cut a 45. If it sells, he says
maybe we can do some more. Wouldn't that be fab?
With love from me
to you,
John
Capital Records Press Release,
September 29, 1962
Straight from the Heart of
Texas comes the debut LP from The Quarrymen, the hopping new
band led by Western Swing legend Bob Wills. Building on the
success of their hit single, "Love Me Do," the Meet The
Quarrymen LP features the future chart topper, "Please
Please Me," and a revitalized take on Bob's country classic, "Faded Love."
Excerpt from
Can't Buy Me Faded Love -- The Unauthorized Legend of The
Quarrymen, Ernest and Shultz, 1989
Looking back, it
doesn't seem surprising that those early records found so much
success. The world was in love with rock and roll and western
swing, and working the two together could only be a recipe for
success. But Bob Wills, and more importantly his record
company, weren’t sure what type of reception these new songs
would receive when they hit the record shops. In order to head
off any permanent damage to the reputation of Wills' primary
band, The Texas Playboys, the label suggested the album be
released under a different name. Thus, The Quarrymen were born,
and in this initial phase of their existence, the group was
marketed as a Bob Wills side project. No mention was made of
John's songwriting contributions in the album notes for the
first two records, although history has corrected this
oversight.
The first two albums, Meet
The Quarrymen and Quarrymen For Sale, were modest
sellers in the United States and in England, with the single, "She Loves You," enjoying a brief stay on the Billboard Top 20
singles chart. But this moderate success wasn't yet enough to
prove the concept to Capitol's record executives. By the end of
1963, a handful of new singles had been released and mostly
ignored by the public, and it is unlikely The Quarrymen would
have released another album if Bob hadn't pulled the strings to
get them the gig that would change the face of music forever.
The Quarrymen played The Ed
Sullivan show for the first time in February 9, 1964. Prior to
that iconic performance, they were a band at the crossroads and
John was a brilliant but unknown songwriter and collaborator,
content to live in the shadow of his legendary mentor. But that
night changed everything. The Quarrymen became the world's most
famous musical group overnight.
And John Lennon became a
superstar.
Excerpt from
Lennon: Honky Tonk Hero, Lon Haines, 1982
It was during this
rapid onset of stardom that John began to rely heavily on the
experience of his better-known collaborator. Although Wills had
never enjoyed this level of stardom -- indeed, Quarrymania was
unlike anything anyone had ever experienced -- he had
enjoyed a great deal of success earlier in his career and
understood the responsibility that strolled hand in hand with
fame. Rather than wilt beneath the weight of public
expectations, John took all the support and counsel Bob had to
offer.
John credits Wills
with "pulling me up by my bootstraps and setting me on the
forward path." This perspective allowed John to devote himself
to the music, and this is the time when the Quarrymen's two
songwriters really began to connect. It is also the time when
John began seeing Bob as a sort of surrogate parent, a
replacement for and perfect embodiment of the father ideal that
he had never known. Despite his subsequent protests in his
declining years, it is widely corroborated by band members and
personal friends that Wills shared this bond and treated John
as a son. This closeness no doubt contributed to the musical
magic, but it made their subsequent sparring more difficult for
both.
Letter to John Lennon from his
Aunt Mimi
August 29, 1964
John,
I was pleased to learn in your
recent letter that Mr. Wills has been such a positive influence
in your life. You Uncle and I had occasion to watch your
movie. How odd to see your face on such a large scale! What a
joy it must be for a boy your age to be besieged by the girls.
I only ask that you remember your upbringing and look to Mr.
Wills for guidance in matters of propriety. We are proud of
you, John! Let us know when we can see you again on the telly.
All my love,
Mimi
Excerpt from an interview with
Al Stricklin, Honky
Tonk Keys, December 1979
"John started smoking pot
around the time that Hard Day's Night was released. I'm
not here to point fingers -- half the band at that time was
doing the same thing. In fact, I think it was Dylan, the
harmonica guy that got him into all that. There was a lot of
stress in the air at that time. We put out three records in
sixty-four and sixty-five: Hard Day's Night, Help!, and
Western Soul. Add the never-ending tour and two movies,
and it all piles up on you quick. John was the biggest music
star in the world. Everyone wanted a piece of him. Nobody
knows what that kind of fame will do to them until they get it.
Some guys in the band hit the bottle; others turned to drugs.
The number one rule was, don't tell Bob. He was a drinker, but
everyone knew he wouldn't have any of that other stuff in his
outfit. So when he found out about John, I was amazed he didn't
break up the Quarrymen then and there.
"But, you know, Bob felt like
that kid was his son. John's dad left when he was very young,
and he'd really latched onto Bob by then. Bob was his idol, his
friend, and a replacement daddy. Bob felt the same way. So
when word got out John was into drugs, he took it upon himself
to fix the kid. It was going to take more than pot to put a
wedge between them two. Yeah, that wedge ended up there, but it
took a long while to work itself into place.
"And, you know, the drugs might
have started that -- Bob got a little more bent out of shape
when John moved on to acid. But the whole Jesus thing is what
really set the ball rolling downhill."
Excerpt from a John Lennon's
interview in the
London Evening Standard, March 4, 1966
"I don't know what will go
first -- rock, country or Christianity. We're more popular than
Jesus now."
Excerpt from a John Lennon's
press conference, August 11, 1966
Reporter: "Some teenagers have
repeated your statements -- "I like The Quarrymen more than Jesus
Christ." What do you think about that?"
Lennon: ". . . I'm not saying that
we're better or greater, or comparing us with Jesus Christ as a
person or God as a thing or whatever it is. I just said what I
said and it was wrong. Or it was taken wrong. And now it's all
this."
Reporter: "But are you prepared
to apologise?"
Lennon: "I wasn't saying
whatever they're saying I was saying. I'm sorry I said it
really. I never meant it to be a lousy anti-religious thing. I
apologise if that will make you happy.
Excerpt from
Can't Buy Me Faded Love -- The Unauthorized Legend of The
Quarrymen, Ernest and Shultz, 1989
The lion's share of books and
articles written about the Quarrymen in the years since the
deaths of Wills and Lennon paint Wills as an "old-fashioned"
fuddy-duddy who wasn't hip enough to keep up with his partner's
immersion in sixties counterculture. This was hardly the case.
Bob understood the importance
of the music they were making, and although John steered the
musical direction beginning with the Colt Revolver LP,
Bob was more than willing to follow his lead. He did not
agree with many of John's lifestyle choices -- in particular,
his experimentation with LSD -- but he was quite happy to reap the
benefits of those influences. Bob's subsequent love affair with
the sitar can be directly attributed to John's study of eastern
religions and his time spent under the tutelage of Hindustani
musician, Ravi Shankar. And John's descriptions of the aural
phenomena he experienced while under the influence of LSD caused
Bob to experiment with his fiddle style, ultimately resulting in
a new direction in his musicianship, and his still haunting
psychedelic fiddle leads on the Sheriff Emery's Honky Tonk
Dive Bar Band LP.
The fact that Bob continued to
embrace these influences in his music after the Quarrymen called
it quits in 1970 is evidence that his interest was
genuine. Yet Bob could never reconcile the end with the means.
The Quarrymen's recording sessions from 1966 onward were
fraught with strife and electric with tension between the
group's two geniuses. It's widely held that this conflict is
responsible for the stunning, timeless quality of the recordings
produced in this period. John's cynicism about the Vietnam war
and the government, amplified by his drug use and declining
interest in traditional western swing stood in direct conflict
with Bob's more conservative views and his fear that the music
he loved was being replaced by the new genre he'd created. Each
of them viewed the Quarrymen as a tool to advance his own agenda,
a signpost to direct the masses toward the future of popular
music.
It was this collision of wills
that created the magic.
Excerpt from an interview with
Al Stricklin, Honky
Tonk Keys, December 1979
“A lot of people have opinions
on why the band broke up. But I don’t have to guess. It wasn’t
because John started dating that woman. The drugs and John’s
lifestyle played a part, I suppose, but the real reason Bob and
John stopped getting along was that John lost his love for
western music. He started playing his guitar through Marshall's,
adding all that distortion that was gaining popularity. It was
like rock and roll had been living in his soul all along and now
it was clawing to get out. That didn’t sit too well with Bob,
and it got to where they could barely be in the same room
together. Bob would come in of a morning and record his parts
with the band, then John would lay down his tracks at night. He
was into experimentation by then, and Bob would come in the next
morning and tape over a lot of what John had recorded the night
before. So John would up the ante the next night and the result
was The White Album. I don’t think the two of them spent
more than ten minutes in the same room while that one was being
recorded.
“The strange thing is, even
though John was abandoning his honky tonk roots, there were a
whole mess of bands trying to capture that sound he and Bob had
made famous. Rock bands like the Byrds and even the Rolling
Stones were scrambling to add fiddle parts and lap steel guitars
to all their recordings. Bob took it as a compliment, but John
resented the whole Sixties counter-country movement he’d
spawned. He was tired of the whole thing before it even kicked
into gear. A whole lot of that resentment comes out on the last
few records, especially Let Me Be. Bob didn’t even want
that one released, but John demanded it. He hired Spector to
produce it on his own, and it hit the stores a full six months
after Bob called the Quarrymen quits.
“It says a lot that there ain’t
one single fiddle part on that record.”
Excerpt from Lennon: Honky Tonk Hero, Lon Haines, 1982
Lennon recalled the dissolution
of the Quarrymen and his subsequent feud with Wills with bitter
regret. “I was too full of myself, wasn’t I? Sometimes I
wonder what we could have done with a few more years together.
I listen to where guys like Gram Parsons and Clarence White took
our music, and I wish now I’d kept pushing the genre. But I
wasn’t one for listening to criticism, and it was easier to throw
up my hands and be done with the whole thing.
“But the worst thing is I lost
that time with Bob. I spent three years resenting him, and it
was like fighting with your father, you know? Maybe some part
of you knows he’s right but you’re too stubborn to admit it. I
wish there was some way I could yank the Imagine album
off the shelves. When I wrote “How do you Sleep,” it was
obviously a direct stab at Bob and all his lectures on how I was
screwing up my life and killing the music I was supposed to
love.
“I’m just thankful we
reconciled to do that last record. I got to tell him goodbye in
my own way.”
Excerpt from
Can't Buy Me Faded Love -- The Unauthorized Legend of The
Quarrymen, Ernest and Shultz, 1989
Still confined to his
wheelchair and in rapidly failing health, Bob Wills organized
what would be his final recording session in December 1973. It
was more of a Texas Playboys reunion than anything else, but
someone invited John. He showed up in a fringed jacket with a
straw cowboy hat leaning to one side of his head, and when he
walked into the room, Bob’s eyes lit up with tears. Everyone
Bob loved and had made music with was there -- John, Al Stricklin, Smoky Dacus, Leon McAuliffe
-- a
host of friends and family. But it was John he took aside, and
they spent an hour alone, whispering together in a corner, while
the assembled musicians prepared to record a selection of Bob’s
classic songs. The recording session yielded some of the finest
recordings of Bob’s career, but unfortunately he was unable to
participate in the entire event. After retiring on the first
evening of recording, Bob Wills suffered his second stroke in
four years and lapsed into a coma. His friends, John Lennon
included, finished the recording session with tears in their
eyes, and what remains is a fitting tribute to a country music
legend.
Much
speculation has been made regarding John and Bob’s final
conversation. John described it in numerous interviews as “a
heart to heart, between me and my father,” but any hope of
knowing for sure died with John Lennon’s murder in New York
City.
Released
as For the Last Time, the album produced during the final
hours of Bob Will’s life continues to haunt listeners to this
day. His aged, raspy voice can be heard in the call and answer
session of “What Makes Bob Holler,” and his ever-steady fiddle
decorates roughly one-third of the album’s tracks. When Lennon
takes the vocal lead on “Faded Love” and “A Day in the Life,”
his voice shakes with emotion. It’s an intimate portrait of a
man torn apart by human mortality, a shuddering, broken
superstar. In the years following Lennon’s death, these songs
have taken on an added sense of gravity. We know from Lennon
himself that he and Wills set aside their differences that day and became again what they’d once been. Lennon found his
father, only to lose him again.
This
unlikely reconciliation did more than reunite the greatest
songwriting team of the twentieth century. It returned credence
to the very beliefs they espoused. For all the turbulence and
strife that hounded the Quarrymen throughout their short time
together, in the end, they were right about everything.
All you
really need is love.
About the Author:
Josh Rountree enjoys writing fiction,
but he'd much rather be a rock star. If he was pressed to name his favorite song
of all time, it would be the Beatles' "A Day in the Life," but Gram Parsons'
"Return of the Grievous Angel" would give it a run for its money. If pressed to
name the coolest places he's been published, he'd get all nervous and say
something like, "Lone Star Stories, natch, and Realms of Fantasy."
Then he'd start to feel bad about all the magazines he didn't mention and just
refer you to his website.
Story © 2006 Josh Rountree. Painting by Juan Gris.