John & Yoko and The Plastic Ono Band Happy Xmas (War is Over)/Listen, the Snow it's Falling, 45 rpm - Made in UK ( já falta pouco para o Natal...)

Made in UK

1971

Apple R5970

John & Yoko and The Plastic Ono Band

Happy Xmas (War is Over)/Listen, the Snow it's Falling

Susan Shirley Jealous Guy/Oh Yoko, 45 rpm - Made in Portugal

Made in Portugal

Columbia  8E 006-93 008

Susan Shirley

Jealous Guy/Oh Yoko

Uma admiradora de Lennon, nada mais...

Salute To British Rock, 33 rpm - Made in Colombia

Made in Colombia

1979

LP 33 rpm

EMI

Salute To British Rock

Mais uma das raras colectâneas com os Beatles e também Lennon e George a solo entre muitos outros ilustres conhecidos... aqui numa capa alternativa, edição da Colombia.

A1	Electric Light Orchestra - Roll Over Beethoven
A2	George Harrison - My Sweet Lord
A3	The Shadows - Apache
A4	Deep Purple - Black Night
A5	McGuinness Flint - When I'm Dead and Gone
A6	Cliff Bennett & the Rebel Rousers - Got to Get You Into My Life
A7	Pilot - Magic
A8	John Lennon - Imagine
B1	The Beatles - Get Back
B2	Hawkwind - Silver Machine
B3	Keith West - Exerpt from "A Teenage Opera"
B4	The Move - Do Ya
B5	Ashton, Gardner & Dyke - The Resurrection Shuffle
B6	Steve Harley and Cockney Rebel - Make Me Smile (Come up and See Me)
B7	Dave Edmunds - I Hear You Knocking
B8	Wizzard - See My Baby Jive

Hot Chocolat Band - Give Peace a Chance/ Living Without Tomorrow, 45 rpm - Made in Uk

Made in Uk

Apple 1812

 

Hot Chocolat Band

Give Peace a Chance/ Living Without Tomorrow

 Tiveram sorte... John gostou da versão reggae e acabaram por assinar pela Apple.

The Cyrkle - Red Rubber Ball, 33 rpm - Made in USA - Representados por Brian Epstein, abriram muitos espectáculos dos Beatles nos Tours Americanos.

Made in USA

CBS - Mono

The Cyrkle - Red Rubber Ball

Uma banda Americana que caiu nas boas graças de Brian Epstein que foi Manager do grupo,  fizeram as primeiras partes dos Beatles em muitos dos shows americanos (1966). O tema de maior sucesso é "Red Rubber Ball" escrito por Paul Simon, esse mesmo. Grande som, uma autêntica surpresa, laivos de psicadelismo pop, ainda hoje sabe bem ouvir este disco. Dizem alguns que foi Brian Epstein que deu o nome ao grupo, mas outros também afirmam, entre eles um dos elementos da Banda,  que foi Brian mas a inspiração veio de John Lennon, é uma referência a uma rotunda na baixa de Easton.

01. Red Rubber Ball (2:23)
02. Why Can't You Give Me What I Want (2:32)
03. Baby, You're Free (2:46)
04. Big, Little Woman (2:26)
05. Cloudy (2:16)
06. Cry (2:41)
07. Turn-Down Day (2:36)
08. There's A Fire In The Fireplace (2:28)
09. Bony Moronie (2:35)
10. How Can I Leave Her (2:40)
11. Money To Burn (3:10)

25 de Abril SEMPRE!

Texas Jack, N. 132 e a colecção de cromos com John Lennon e Lulu.

A revistinha de banda desenhada TEXAS JACK (algures na década de 70) com um bónus, os cromos das estrelas do espectáculo, ainda não consegui encontrar os outros Beatles, se alguém souber o paradeiro é avisar.

John Lennon Sings the Greatest Rock'n'Roll Hits Roots, 33 rpm - Made in USA

Made in USA

ADAM VIII A-80818

1975

John Lennon Sings the Greatest Rock'n'Roll Hits

Roots

Uma trapalhada monumental conseguiu fazer com que este seja um disco raro na discografia de John. A história tem a ver com o atraso na saída de Rock'n'roll, John aceitou uma proposta de uma editora de venda pelo correio Americana e cedeu as "tapes" com as gravações que deram origem a "Rock'n'Roll",  ainda em estado "bruto", depois vieram os problemas, a Apple obrigou o disco ser retirado do mercado. A capa era um horror...ainda por cima as gravações foram aceleradas de modo a conseguirem introduzir o máximo de músicas, consta que foram feitos 3000 hoje vendidos  a valores obscenos. Um documento com alinhamento e som diferente do LP "Rock'n'Roll"

Side 1

1 - BE-BOP-ALULA

2 - AIN'T THAT A SHAME

3 - STAND BY ME

4 - SWEET SIXTEEN

5 - RIP IT UP

6 - ANGEL BABY

7 - DO YOU WANT TO DANCE

8 - YOU CAN'T CATCH ME

Side 2

1 - BONY MONRONIE

2 - PEGGY SUE

3 - BRING IT ON HOME TO ME

4 - SLIPPIN & SLIDIN

5 - BE MY BABY

6- YA YA

7 - JUST BECAUSE

Rolling Stone, No. 73 December 1970 - George Harrison e John Lennon

A revista Rolling Stone de Dezembro de 1970 com Rod Stewart na capa, uma página gigante de publicidade ao triplo LP de George "All Things Must Pass", um longo artigo sobre o Festival de Toronto, onde John e Yoko participaram, numa das fotos aparece o casal Lennon e o PM Canadiano, Pierre Trudeau ( sim esse, o Mick lixou-o!). Um artigo curioso sobre as APPLE SCRUFFS, com referências a Lizzie, mas vindas da Carol,  a Lizzie Bravo não  a tem lá em muito boa consta, consta que tinha grande imaginação romântica...

John Lennon, Imagine-Jealous Guy-Happy Xmas (War is over), 45 rpm 12" - Made in UK

Made in UK

Parlophone 12R 6199

1988

John Lennon

Imagine-Jealous Guy-Happy Xmas (War is over)

Um Maxi-Single precioso (Versão Promocional)

Moeda Comemorativa dos 25 anos da morte de John Lennon -Made in Cook Islands

Made in Cook Islands

Moeda "com banho de prata", esta malta inventa tudo para vender mais qualquer coisita!

Moeda comemorativa dos 25 anos da morte de John, quem quiser também encontra "banhado a ouro" ou será banhada?

Grapefruit, Round Going Round/This Little Man, 45 rpm - Made in Portugal - Os protegidos de Lennon

Made in Portugal

$tateside  PSS 1015

Released by Dunhill in The USA

Grapefruit

Round Going Round/This Little Man

Uma vez mais os Grapefruit, protegidos de Lennon, retirou o nome do grupo do título de um livro de Yoko, aqui no single de versão Portuguesa. O curioso já foi aqui contado, assinaram pela Apple mas acabaram por nunca gravar nenhum disco na editora dos Beatles.

 

Grapefruit, Dear Delilah/The Dead Boot, 45 rpm - Made in USA - Protegidos de Lennon.

Made in USA

1968

Equinox

Egg Music in Association with Apple Records

Grapefruit

Dear Delilah/The Dead Boot

A história é conhecida, os Grapefruits, protegidos de Lennon,  que inclusive escolheu o nome da banda com referência a um livro de Yoko Ono (ver mais abaixo) com o mesmo nome, assinaram pela Apple mas acabaram por nunca editar nenhum disco na editora dos Beatles, a prova está neste single americano da editora EQUINOX que apresenta a prova do licenciamento da APPLE ( ver insert mais abaixo). George Alexander, um dos elementos da banda, é mais um membro da famosa família YOUNG com elementos nos Easybeats, AC/DC , etc... Psicadélico Soft.

/

O livro de Yoko Ono ( várias edições)

John Lennon: The Ultimate Guide to His Life, Music & Legend - Rolling Stone, Special Collectors Edition, Outubro 2012

 John Lennon: The Ultimate Guide to His Life, Music & Legend

 Rolling Stone Special Collectors Edition, October 2012

Como uma capa destas quem pode resistir! bom material, inclui a primeira (1968) e a última entrevista que John deu à Rolling Stone, uns dias antes da sua morte. Mais de 50 fotos, a homenagem de Keith Richards e Stevie Wonder, as memórias de Yoko dos últimos dias de John.  

National Lampoon, Radio DInner - Que Paródia de Disco! Magical Misery Tour... 1972 Made in USA

Made in USA

1972

Blue Thumb Records  BTS 38

MCA Records

National Lampoon's - Radio Dinner

National Lampoon - uma espécie de MAD MAGAZINE, lunáticos Americanos, humoristas, com filmes, programas de TV, livros e discos, neste caso um disco/paródia com uma faixa chamada "Magical Misery Tour" construída à volta da entrevista que Lennou deu à revista Playboy, ou seja, a letra da canção é toda feita com as respostas de Lennon à dita entrevista  ( ver final do post). John e Yoko, Bob Dylan , Joan Baez, são representados por actores e cantores (Melissa Manchester é Yoko) de modo a dar corpo à paródia...Referência para o falso LOGO BANANA RECORDS e o tema "Concert in Bangla desh".

 

Linda Letra:

Magical Misery Tour)
i resent performing for you fuckers!
tell me, what do you know?
a lot of faggot middle-class kids
wearing long hair and trendy clothes.
look, i'm not your fucking parents
and i'm sick of uptight hippies coming knocking at me door
with a fucking peace symbol
get this, got that i don't owe you fuckers anything.
and all i've got to say is "fuck you!"
the sky is blue.
and mick jagger
i think that mick's a joke with all his stupid faggot dancing
i always did.
wiggling his ass, you know, its just a lot of bullshit.
and where does he come off saying all those tarty things about the beatles?
when every fucking thing we ever did
mick tried to copy
and you know we even wrote his second fucking record for him
no, the stones aren't the same in class as the beatles, either music-wise or power-wise;
they never ever were.
pardon me sir.
paul said he hated yoko
tell me, why should yoko have to take that kind of shit -
shit from those fucking sons of bitches?
george said she gave off evil vibes
i should have beat the fucking shit right out of him,
him with his fucking hari krishnas.
me auntie she tore up me fucking poems
she just threw the bastards out.
i can't forgive her 'cause she didn't treat me like a fucking genius.
look, you bastards, i'm a genius!
like shakespeare and beethoven and van gogh.
don't you dare criticize my work!
"don't worry kyoko" is one of the fucking best rock and roll records ever made!
i'm a fucking artist!
i'm sensitive as shit!
i throw up before i go on stage!
i could make a guitar speak!
if i could be a fisherman, i would,
but i can't because i'm a fucking genius!
i was the walrus -
paul wasn't the walrus!
i was just saying that to be nice, but i was actually the walrus!
you know that rubbish he's been singing?
eastman was an animal!
a fucking stupid middle-class pig!
i won't let fucking animals like that near me!
yoko is a supreme intellectual!
i'll tell you why nobody likes her music
it's because she's a woman,
and she's oriental, that's why!
where are you mother?
they're trying to crucify me!
genius is pain,
genius is pain,
genius is pain,
genius is pain!!
yoko!!!!
mother!!!! {fade out on howling and gutteral screaming)
yoko's voice: the dleam is over.



 O artigo original:

So here is the article and the lyric, in their entirety:

This is an unrelentingly brutal parody of John Lennon made all the more pointed due to the fact that the lyrics are Lennon's own words taken from an interview he granted to Jann Wenner of Rolling Stone in 1970. The interview itself is legendary. At the time it was conducted, Lennon was still hopelessly trapped under the vast, oppressive shadow of The Beatles, and he was angry, whiney, and petulant. With his characteristic cutting wit and candor, Lennon held nothing back and unearthed intensely personal details about his experiences with LSD, heroin, his petty ego issues with Paul and Mick Jagger, and the pain of seeing Yoko publicly maligned and almost universally hated. A few random excerpts from the interview:

Jann Wenner: I would like to ask a question about Paul and go through that. When we went and saw 'Let It Be' in San Francisco, what was your feeling?John Lennon I felt sad, you know. Also, I felt . . . that film was set up by Paul for Paul. That is one of the main reasons the Beatles ended. I can't speak for George, but I pretty damn well know we got fed up of being sidemen for Paul. After Brian died, that's what happened, that's what began to happen to us. The camera work was set up to show Paul and not anybody else. And that's how I felt about it.
Jann Wenner: Do you think you're a genius?
John Lennon: Yes, if there is such a thing as one, I am one. - People like me are aware of their so-called genius at ten, eight, nine. . . . I always wondered, "Why has nobody discovered me?" In school, didn't they see that I'm cleverer than anybody in this school? That the teachers are stupid, too? That all they had was information that I didn't need? I got fuckin' lost in being at high school. I used to say to me auntie, "You throw my fuckin' poetry out, and you'll regret it when I'm famous," and she threw the bastard stuff out. I never forgave her for not treating me like a fuckin' genius or whatever I was, when I was a child. It was obvious to me. Why didn't they put me in art school? Why didn't they train me? Why would they keep forcing me to be a fuckin' cowboy like the rest of them? I was different, I was always different. Why didn't anybody notice me? A couple of teachers would notice me, encourage me to be something or other, to draw or to paint - express myself. But most of the time they were trying to beat me into being a fuckin' dentist or a teacher. And then the fuckin' fans tried to beat me into being a fuckin' Beatle or an Engelbert Humperdinck, and the critics tried to beat me into being Paul McCartney.
Jann Wenner: What do you think of the Stones today?
John LennonI think it's a lot of hype. I like "Honky Tonk Women," but I think Mick's a joke with all that fag dancing; I always did. I enjoy it; I'll probably go and see his films and all like everybody else, but really, I think it's a joke.
Jann Wenner: Do you see him much now?
John Lennon: No, I never do see him. We saw a bit of each other when Allen was first coming in - I think Mick got jealous. I was always very respectful of Mick and the Stones, but he said a lot of sort of tarty things about the Beatles, which I am hurt by because, you know, I can knock the Beatles, but don't let Mick Jagger knock them. I would like to just list what we did and what the Stones did two months after on every fuckin' album. Every fuckin' thing we did, Mick does exactly the same - he imitates us. And I would like one of you fuckin' underground people to point it out. You know, Satanic Majesties is Pepper; "We Love You," it's the most fuckin' bullshit, that's "All You Need Is Love." I resent the implication that the Stones are like revolutionaries and that the Beatles weren't. If the Stones were or are, the Beatles really were, too. But they are not in the same class, musicwise or powerwise, never were. I never said anything, I always admired them, because I like their funky music, and I like their style. I like rock and roll and the direction they took after they got over trying to imitate us. He's obviously so upset by how big the Beatles are compared with him, he never got over it. Now he's in his old age, and he is beginning to knock us, you know, and he keeps knocking. I resent it, because even his second fuckin' record, we wrote it for him.

In subsequent interviews, long after he had finally put the insanity of the Beatles in the past and had dealt with his other personal demons, John denounced much of what he said in this interview.
And so we come to Magical Misery Tour.
Lyrically, it's magnificent. How could it not be? John Lennon was a great artist, and great artists are, by their very nature, self-indulgent. In a perverse way, it's a tribute to Lennon's ability, at that time, to be nauseatingly compelling.
Musically, it's reminiscent of some of what the Plastic Ono Band were producing at the time - just piano, bass and drum - and it does not, unlike most song parodies, wear thin after only one or two listens. Tony Hendra does a superb vocal impression and perfectly highlights the folly of Lennon's rage and public tantrums. Particuarly amusing are the non sequiturs between the ranting verses, and the plaintive admission of who the Walrus really was.
The ending, a crescendo of blood-curdling screams and garbled nonsense, represents his much-publicized involvement with Primal Scream therapy.
Knowing what we now know of John Lennon's mental and emotional condition at the time, and being fully aware that his life would eventually be tragically cut short, the folks at National Lampoon might be accused of being rather cruel to use the words of a tormented man against himself.
Perhaps if it had been done by less talented satirists it might now ring unnecessarily mean-spirited. There is an old adage:'The best comedy is born from the worst pain', and this spoof supports the statement. In 1970, John Lennon was on the precipice of a period in which he would become out of control and, ufortunately for him, I suppose, he had access to very public avenues through which to turn his personal pain into a clay pigeon for pen-wielding critics.
But let us not forget that Lennon, himself verbally gifted, had his own sadistic streak and wasn't adverse to using public mockery to mercilessly drive his point home. If taken for what it is - a historical piece of social criticism, National Lampoon created a gem that still holds up.