"Memories of John Lennon" Details
An Influencial Life That Goes Beyond Music And Fame
309 pages; 1st edition (November 17, 2005)
Harper Collins Publishers ; ISBN:
0060594551
First, I’ll deal with what has been the most obvious - and predictable
- criticism of this publication.
Like the recent Lennon broadway play, “Memories of John Lennon” (edited
and introduced by Yoko Ono) favors Lennon’s post Beatles years. The
most obvious omissions are comments by Paul McCartney, Ringo Starr,
archival comments from George Harrison, or any Beatles ‘insider’ (i.e.
George Martin, Geoff Emerick, Neil Aspinall, etc.).
Having said that, it’s virtually impossible to gather a series of
recollections without Lennon’s Beatle years being referenced and
reflected upon. However, for those primarily interested in John
Lennon’s experience as a Beatle, this is explored more specifically and
with much more detail in other publications.
Once I determined what “Memories of John Lennon” wasn’t about, I began
recognizing the aspects of Lennon’s life which were the focus of this
book.
What I found myself brushing past rather quickly were many of the
‘celebrity’ comments. Some were excerpts from Rolling Stone’s 1982
publication, “The Ballad Of John and Yoko”. Other celebrity comments
seemed overly familiar to what I’ve read in other commemorative books
and magazines.
The significance of Lennon’s solo career is given it’s due for reasons
that go beyond his musical output and celebrity status.
What I valued most about this book was input from lesser known
individuals who provided insight into Lennon’s cultural / philosophical
/ social impact (in which he generated a presence “beyond fame”) as
well as his political / activist activities.
Others focused on Lennon’s generosity to lesser known artists, his
support of the counterculture and underground press, as well as new and
upcoming forms of expression in film, art and music; his literary
influence - both with lyrics and in books - and the way he encouraged
an intelligent world view and social consciousness within the popular
music field. Also highlighted was how the lines of distinction between
his life and art were blurred, in effect, creating a new form of art.
A few comments are written from a unique perspective (what it was like
to be Lennon’s neighbor at the time of his death; early recollections
from a cousin, a studio musician commenting on Lennon’s state of mind
during the “Double Fantasy” sessions, the reactions of fellow New
Yorkers and much more).
Some comments were brief and cursory, others displayed a wealth of
detail and writing ability which indicate that other publications would
(or should) be forthcoming.
There’s also material here that is previously unavailable (i.e. a
significant excerpt of Lennon’s “Man of the Decade” interview) which is
of interest to the Lennon completist.
Once readers account for the post Beatles bias, there is much to
recommend within these pages. As a tribute to the life and influence of
John Lennon, this publication succeeds in highlighting aspects of
Lennon’s life that are seldom examined.
A photographic highlight is Annie Leibovitz’s proofs from Lennon’s
final photo session, one of which was used for an award winning Rolling
Stone cover which became their Lennon tribute issue.