The last time John and Paul saw each other???

Looking to find out the last time John and Paul saw each other or talked to each other.
From what I can remember it was in 76, when Paul visited John at the Dakota.
Are there any books that go into details about this.
Also anyone know the date on which all 4 Beatles were together for the last time.

THANKS

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I'm sure the following book would have what you're after: "The Beatles After The Break Up 1970-2000" by Keith Badman.

Macca frequently refers to talking with John shortly before John died and having a very pleasant conversation about kids but I don't know if that was by phone or in person.

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I have no idea, but I've heard that the time Paul visited John in '76 was kept very hush-hush about what went on or something. Don't quote me on this though, I have no idea. I expect that if this is true that it was some sort of really happy, reconciliating experience that neither wanted the press to know about or something. Anyway, there's a VH1 movie sort of thing called "Two Of Us" that's about what might have happened during that visit, I suggest you check it out, it's actually quite good. Except for the part where John and Paul are playing on the piano. Obviously Adrian Quinn (the guy who played Paul) couldn't play piano worth crap and was pretending the whole time.
They did goof when they said that the last time that the beatles played together was the rooftop concert, which isn't at all true, but oh well. Okay, that was a bit of a babble on my part, sorry 'bout that.

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"hello"

<BLOCKQUOTE><font size="1" face="Tahoma, Arial, Sans-Serif">Quote:</font><HR>Originally Posted By Nowhere Man:
I'm sure the following book would have what you're after: "The Beatles After The Break Up 1970-2000" by Keith Badman. <HR></BLOCKQUOTE>

I have the book but I did not have time yet to read through page 175 (1976) to 271 (dec. 1980).



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George in I Me Mine; 'I met Kissinger and Ford. Ford was very friendly, Kissinger looked like an Arab, talked like a German and was tanned all over, like Clark Gable, he was a bit like Charlie Chaplin, like a Rutle.

J and P were together watching "Saturday Night Live" the night the show offered the group a couple of measley thousands to reunite as a joke.

Wasn't that in 1976?



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I heard they got a cab and were seriously gonna show up, but at the last minute they decided not to.

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4 weeks, 6 days

I heard that too.

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"I'm really glad that most of our songs were about love, peace and understanding."

-Paul McCartney

The 1st season of SNL was 75-76, the snl offer was in 76.

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Their last jam session together was between March and April in 1974... of which I picked up the CD yesterday: "A Toot and a Snore in '74"

What is on that session?

A toot and a snore, duh.

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4 weeks, 5 days

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Bearkat77's Beatlemaniac Page

<BLOCKQUOTE><font size="1" face="Tahoma, Arial, Sans-Serif">Quote:</font><HR>Originally Posted By jtal909:
What is on that session? <HR></BLOCKQUOTE>

Jtal, it's quite interesting actually, funny to lsten to John getting annoyed throughout... here are the full details for you:

A Toot And A Snore in '74
Mistral MM9225
Luxembourg 1992
Total Duration: 29.20

The following people took part in the session...

John Lennon: vocals, guitar
Paul McCartney: vocals, drums
Stevie Wonder: vocals, electric piano
Harry Nilsson: vocals
Jesse Ed Davis: guitar
Bobby Keys: saxaphone.

Track 1 - A Toot And A Snore (0.25)

Paul is thrashing about on the drums. Someone is playing guitar. Lennon is giving instructions and helping with the conviviality.

John: If you can get the riffs, just so we can sing something...do you want a snort Steve? A toot? Its going round...

Track 2 - Bluesy Jam Session (2.29)

The tape is already running, and John is singing a slow, bluesy number in his inimitable style. He is acompanied by bass, lead guitar, organ and Paul tapping a cymbal.

John (singing): And I fell upon my ass... nobody seemed to notice... I was wearing mother's bra... and she was wearing oh dear(?)... but no one seemed to care, over there, they didn't have the bus fare, didn't have the bus fare, didn't have the bus fare... yeah. And later on, a distant relative passed away, so distant I didn't even notice... but I had to go to the funeral, just to see if they'd left any gold in their teeth or any jewelery. So I say - never trust a bugger with your mother, she'll alway wear you out and say 'anything on paper ain't worth a dime, but I like the suit just cut this way - ah gee, its been such a fun time. When I look at Jack Lennon, and I look again, I feel him coming all over me, he he he, yeah, I just gotta say it, Brooklyn Bridge, San Francisco Boot, Elementary Canal, Boston Strangler... it's so wonderful to be waiting for my Green Card with thee... I would never doubt it, but I have to shout it, 'Chicago, Chicago, its a hell of a town, solo, play it man!!!... I'd like to change the tempo a little now... don't play it here, don't play it here, don't play it here, Harry... ok ok ok now...

The band comes to a halt.

John: Somebody's gotta be bossy, right?

Track 3 - Studio Talk (2.37)

In this segment, John tries to get a song they all know, and complains, presumably to Paul, about how bad most other musicians are at being able to jam. The track starts with Paul tapping out a slightly faster rhythm, and Keyes plays a few sax notes. It soon falls into a slow paced instrumental with drums, orgam and guitar, vaguely reminiscent of "Lucille", until John gets bored and again stops them...

John: Alright, lets make some backing... I like both you and Bobby, but I don't understand why you're sitting right on top of me... somebody think of a friggin' song. I've done "Ain't That A Shame" in twenty studios on these jam sessions... (someone says something off-mic to Lennon)... Yeah, it's just that we had a jam and nobody knows when to change. You do a twelve bar, or somebody picks a song.
Paul (off-mic): Little Bitty Pretty (?)
John: Anybody can sing... no no no, anybody know... we did 'Do Ya Wanna Dance' for three f**kin' sessions.

The band starts to play a medium paced riff. They are frightfully ragged.

John: Anybody know it? (singing) little bitty pretty one... that's all I know... see what I mean?

Paul now gets a mic, and his comments are more audible.

Paul: Hey Steve!
John: I've forgotten all the words...(singing) left my woman by the... that's all I know. If somebody knows a song that we all know, please say so, 'cause I've been screaming here for hours... it's gotta be something done around Fifties, or no later than '63, or we ain't gonna know it... I got it, I got it!

Track 4 - Lucille (5.57)

John: Who's got a mic besides me? Come on, somebody join in.
Paul: Hey!
John: Ok ok, yeah, hey hey - that's it...

The band, led by Stevie, pull it together and start playing the riffs that underpin "Lucille". They play three instrumental choruses, with saxaphone, organ, lead guitar, bass and drums before John comes screaming in, aided by Paul, who provides a distinct harmony vocal. This is the only significant interaction between Paul and John throughout the session.

They sing two choruses and a middle eight before an instrumental break dominated, initially by the sax, before a guitar takes over. They resume with another middle eight, followed by two more choruses. This is followed by a ragged guitar solo from John. Paul's drums have been faded out of the mix at this point. Paul and John then sing a middle eight acapella, followed by another chorus and instrumental. Yet another middle eight and chorus follow, with some more instrument and vocal "drop-outs" and then another more ragged guitar-led solo by John which lasts for two choruses before the band grinds to another halt.

John: It is a little better, if we think it is a song, right? And somebody turn my vocal mic down... give Stevie a vocal mic... and where's all that drink they always have in this place?

Track 5 - Nightmares (2.36)

Someone picks out the chords to a slow ballad. The CD lists it as "Nightmares", but it is actually the 1961 Shadows instrumental "Midnight". John ad-libs some lines over the tune, but is keen to do something else, trying to play the opening riff from "Sweet Little Sixteen".

John: What bass note... what key? Nobody's ever told ya? C Again... (singing) Hi, this is Sato, we'd like to change the... Ok ok ok...
Paul: Hello?
John (singing): Nightmares, my love, every night, nightmares, never go... when I saw me standing there, I said, 'Gee, was that me?'... come on, let's do something! Save it, save it...

However, the band keeps playing.

Paul (singing): Yeah yeah...
John: Come on... wait a minute!
Paul (singing): sleepwalk...
John: Somebody give me an E or a snort...

The band tunes up.

John: G? G?

Track 6 - Stand By Me (2.15)

John: Let's do a twelve-bar harmony to "Stand By Me".

The band tries to play the riffs.

John: Ok ok ok, you get it, you get it good. Ok ok... let's not get too serious, we're not getting paid... we ain't doing nothing but sitting here together... Ok, let's do that, and anybody who gets bored with me, take over... two, two, two.

Track 6 - Stand By Me (0.45)

Led off by a guitar playing the opening riff, joined by sax, organ, bass and drums. John starts singing and gets through half a verse before stopping...

John: What happened to the earphones? Ok, let's do it again... hey hey hey!
Paul (singing): darling...
John: Right, yeah
Paul: Woah
John: Boys, boys, in the control room? You suddenly turned the voice off and one ear off. If you're trying to get rid of me guitar, tell me... just put it up. Just turn the friggin' vocal mike up again and put it all flat, and put one mike in the middle of the room and pick up everything! Come on Steve... hello, hello? Mal? Get us a drink.

Track 7 - Stand By Me (3.35)

John: Two, two, two

Stand By Me (0.23) Yet another attempt at the song, which breaks down before John sings a note.

John: Turn the organ down in the ears... and again, let's go again, lets go again. We had a beautiful mix in the ears about a half an hour ago - there was nothing wrong with it, and now it's like we got muffles on it... anybody else get the same thing? It changed, like somebody started getting serious?
Paul: Yeah, yeah
John: I'd sooner have more fun in here and forget about it in there. It's gone all sort of dead, dead in the earphones, you know, DEAD... DEAD man!!! Look, let's not get to serious Gary, you know... hands up who doesn't know 'Stand By Me'? Arm in the air, ok ok, then we all know it, right. Just turn the f**king vocal mic up... McCartney's doing the harmony on the drums, Stevie might get on it there, if he's got a mic...
Paul: Hey, hey, hey
John: Alright, I'd just like more vocal, treble...

Stand By Me (0.56) Paul sings a few wordless "yeah's" in the intro. John is still unhappy with the mix, and talks to the control room as the band plays...

John: And another one, still dead in the earphones! Alright... still a bad sound. Treble. Let's hear it!!!

John tries singing, with Paul echoing his lines, but John's getting angrier about the sound, and stops them after only a line.

John: I can't hear a f**kin thing now, I can't hear a thing. Sorry, I'm sorry. Stop, stop, hey, hey!!! You just keep turning my earphones off, I can't hear nothing!
Paul: Ah, ah, ah
John: Just one ear's on now. Before it got serious I could hear everything, I can't hear a f**king thing. Hello, hello? C'mon, you know... 'Darling darling, stand by me,' but we can't do it with no f**king voices! I can hear plenty of bass, plenty organ, plenty guitar. I can't hear hardly any of my voice, only in one ear. What, what? Can you hear me in the control room? The mic was good two hours ago and they heard me shouting, they thought I was too loud so they turned it down. So don't worry about distortion...
Paul: Oh yeah, oh yeah...
John: You don't have to change nothing, just put it back where it was... it's a good mic... f**k it.

Track 8 - Stand By Me (6.02)
Paul (singing): yeah, oh yeah...
John: Now the guitar's gone bad

Stand By Me (5.56) John finally starts singing, joined by Paul, who echo's John's vocal in the second part of the verse. Someone in the control room has added echo to the vocals. Halfway through verse two, John's mic is turned off, leaaving only Paul singing. Of course, because Paul can still hear John singing, he keeps on adding his harmony vocals (you can vaguely hear John's vocal leaking onto Paul's). As a result, it sounds like a "karaoke" version of the song with the lead vocal removed. Towards the end, Harry Nilsson also joins in the "Stand By Me" refrain.

Track 9 - Cupid/Take This Hammer (3.10)

Stevie Wonder takes the lead vocal on this track, accompanying himself on keyboards. He sings two verses of "Cupid" with assistance from Paul. They then switch to "Working On The Chain Gang" with Stevie and Harry trading verses before Harry finds problems with the mics too.
Harry: Turn him up... turn Stevie up. Turn me up.
Paul: Oh yeah, oh yeah
Harry: Yeah, well the mic's gone bad.

There is another verse and then a guitar solo. Paul leads them into a short version of "Take This Hammer". The track is faded out, just as the three of them start singing.

Beyond the historical significance of this recording, it has little going for it. It is little better than most of the Get Back sessions. Paul's contributions are minimal (Ok, he was playing drums, so he may be excused for being less talkative), and the performances of the others are fairly ragged, particularly whoever is playing bass. Stevie Wonder's performance however, is still fairly impressive, and it is he who often keeps the others together, much the same way that Billy Preston managed to compensate for often shoddy playing from the Beatles during the Get Back sessions.
The problems with John's mic mean that most of the "Stand By Me" performances are useless, while he himself spends almost as much time swearing at the control room as he does singing. Although John's ad-libbed songs are amusing, John and Paul's performance of "Lucille" is the only song that stands up to repeated playing. (BTW, for those of you unable to get a copy of A Toot and a Snore in '74, the performance of "Lucille" is also available on Artifacts III (Disc 2, tr.11)).

The sound quality is very good stereo, and is only marred by various instruments and vocal tracks being mixed out by the control room.

Overall, for all of you hoping for some Beatle magic, don't hold your breath. It's only real value comes from being able to hear John and Paul together again for one last time.

Thanks for the info, NWM, this is great!

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In Memory Of Robby
Our Lady's Psalter
Bearkat77's Beatlemaniac Page
Bearkat77's Tribute to John Lennon

<BLOCKQUOTE><font size="1" face="Tahoma, Arial, Sans-Serif">Quote:</font><HR>Originally Posted By Nowhere Man:
Jtal, it's quite interesting actually, funny to lsten to John getting annoyed throughout... here are the full details for you:

A Toot And A Snore in '74
Mistral MM9225
Luxembourg 1992
Total Duration: 29.20

The following people took part in the session...

John Lennon: vocals, guitar
Paul McCartney: vocals, drums
Stevie Wonder: vocals, electric piano
Harry Nilsson: vocals
Jesse Ed Davis: guitar
Bobby Keys: saxaphone.

Track 1 - A Toot And A Snore (0.25)

Paul is thrashing about on the drums. Someone is playing guitar. Lennon is giving instructions and helping with the conviviality.

John: If you can get the riffs, just so we can sing something...do you want a snort Steve? A toot? Its going round...

Track 2 - Bluesy Jam Session (2.29)

The tape is already running, and John is singing a slow, bluesy number in his inimitable style. He is acompanied by bass, lead guitar, organ and Paul tapping a cymbal.

John (singing): And I fell upon my ass... nobody seemed to notice... I was wearing mother's bra... and she was wearing oh dear(?)... but no one seemed to care, over there, they didn't have the bus fare, didn't have the bus fare, didn't have the bus fare... yeah. And later on, a distant relative passed away, so distant I didn't even notice... but I had to go to the funeral, just to see if they'd left any gold in their teeth or any jewelery. So I say - never trust a bugger with your mother, she'll alway wear you out and say 'anything on paper ain't worth a dime, but I like the suit just cut this way - ah gee, its been such a fun time. When I look at Jack Lennon, and I look again, I feel him coming all over me, he he he, yeah, I just gotta say it, Brooklyn Bridge, San Francisco Boot, Elementary Canal, Boston Strangler... it's so wonderful to be waiting for my Green Card with thee... I would never doubt it, but I have to shout it, 'Chicago, Chicago, its a hell of a town, solo, play it man!!!... I'd like to change the tempo a little now... don't play it here, don't play it here, don't play it here, Harry... ok ok ok now...

The band comes to a halt.

John: Somebody's gotta be bossy, right?

Track 3 - Studio Talk (2.37)

In this segment, John tries to get a song they all know, and complains, presumably to Paul, about how bad most other musicians are at being able to jam. The track starts with Paul tapping out a slightly faster rhythm, and Keyes plays a few sax notes. It soon falls into a slow paced instrumental with drums, orgam and guitar, vaguely reminiscent of "Lucille", until John gets bored and again stops them...

John: Alright, lets make some backing... I like both you and Bobby, but I don't understand why you're sitting right on top of me... somebody think of a friggin' song. I've done "Ain't That A Shame" in twenty studios on these jam sessions... (someone says something off-mic to Lennon)... Yeah, it's just that we had a jam and nobody knows when to change. You do a twelve bar, or somebody picks a song.
Paul (off-mic): Little Bitty Pretty (?)
John: Anybody can sing... no no no, anybody know... we did 'Do Ya Wanna Dance' for three f**kin' sessions.

The band starts to play a medium paced riff. They are frightfully ragged.

John: Anybody know it? (singing) little bitty pretty one... that's all I know... see what I mean?

Paul now gets a mic, and his comments are more audible.

Paul: Hey Steve!
John: I've forgotten all the words...(singing) left my woman by the... that's all I know. If somebody knows a song that we all know, please say so, 'cause I've been screaming here for hours... it's gotta be something done around Fifties, or no later than '63, or we ain't gonna know it... I got it, I got it!

Track 4 - Lucille (5.57)

John: Who's got a mic besides me? Come on, somebody join in.
Paul: Hey!
John: Ok ok, yeah, hey hey - that's it...

The band, led by Stevie, pull it together and start playing the riffs that underpin "Lucille". They play three instrumental choruses, with saxaphone, organ, lead guitar, bass and drums before John comes screaming in, aided by Paul, who provides a distinct harmony vocal. This is the only significant interaction between Paul and John throughout the session.

They sing two choruses and a middle eight before an instrumental break dominated, initially by the sax, before a guitar takes over. They resume with another middle eight, followed by two more choruses. This is followed by a ragged guitar solo from John. Paul's drums have been faded out of the mix at this point. Paul and John then sing a middle eight acapella, followed by another chorus and instrumental. Yet another middle eight and chorus follow, with some more instrument and vocal "drop-outs" and then another more ragged guitar-led solo by John which lasts for two choruses before the band grinds to another halt.

John: It is a little better, if we think it is a song, right? And somebody turn my vocal mic down... give Stevie a vocal mic... and where's all that drink they always have in this place?

Track 5 - Nightmares (2.36)

Someone picks out the chords to a slow ballad. The CD lists it as "Nightmares", but it is actually the 1961 Shadows instrumental "Midnight". John ad-libs some lines over the tune, but is keen to do something else, trying to play the opening riff from "Sweet Little Sixteen".

John: What bass note... what key? Nobody's ever told ya? C Again... (singing) Hi, this is Sato, we'd like to change the... Ok ok ok...
Paul: Hello?
John (singing): Nightmares, my love, every night, nightmares, never go... when I saw me standing there, I said, 'Gee, was that me?'... come on, let's do something! Save it, save it...

However, the band keeps playing.

Paul (singing): Yeah yeah...
John: Come on... wait a minute!
Paul (singing): sleepwalk...
John: Somebody give me an E or a snort...

The band tunes up.

John: G? G?

Track 6 - Stand By Me (2.15)

John: Let's do a twelve-bar harmony to "Stand By Me".

The band tries to play the riffs.

John: Ok ok ok, you get it, you get it good. Ok ok... let's not get too serious, we're not getting paid... we ain't doing nothing but sitting here together... Ok, let's do that, and anybody who gets bored with me, take over... two, two, two.

Track 6 - Stand By Me (0.45)

Led off by a guitar playing the opening riff, joined by sax, organ, bass and drums. John starts singing and gets through half a verse before stopping...

John: What happened to the earphones? Ok, let's do it again... hey hey hey!
Paul (singing): darling...
John: Right, yeah
Paul: Woah
John: Boys, boys, in the control room? You suddenly turned the voice off and one ear off. If you're trying to get rid of me guitar, tell me... just put it up. Just turn the friggin' vocal mike up again and put it all flat, and put one mike in the middle of the room and pick up everything! Come on Steve... hello, hello? Mal? Get us a drink.

Track 7 - Stand By Me (3.35)

John: Two, two, two

Stand By Me (0.23) Yet another attempt at the song, which breaks down before John sings a note.

John: Turn the organ down in the ears... and again, let's go again, lets go again. We had a beautiful mix in the ears about a half an hour ago - there was nothing wrong with it, and now it's like we got muffles on it... anybody else get the same thing? It changed, like somebody started getting serious?
Paul: Yeah, yeah
John: I'd sooner have more fun in here and forget about it in there. It's gone all sort of dead, dead in the earphones, you know, DEAD... DEAD man!!! Look, let's not get to serious Gary, you know... hands up who doesn't know 'Stand By Me'? Arm in the air, ok ok, then we all know it, right. Just turn the f**king vocal mic up... McCartney's doing the harmony on the drums, Stevie might get on it there, if he's got a mic...
Paul: Hey, hey, hey
John: Alright, I'd just like more vocal, treble...

Stand By Me (0.56) Paul sings a few wordless "yeah's" in the intro. John is still unhappy with the mix, and talks to the control room as the band plays...

John: And another one, still dead in the earphones! Alright... still a bad sound. Treble. Let's hear it!!!

John tries singing, with Paul echoing his lines, but John's getting angrier about the sound, and stops them after only a line.

John: I can't hear a f**kin thing now, I can't hear a thing. Sorry, I'm sorry. Stop, stop, hey, hey!!! You just keep turning my earphones off, I can't hear nothing!
Paul: Ah, ah, ah
John: Just one ear's on now. Before it got serious I could hear everything, I can't hear a f**king thing. Hello, hello? C'mon, you know... 'Darling darling, stand by me,' but we can't do it with no f**king voices! I can hear plenty of bass, plenty organ, plenty guitar. I can't hear hardly any of my voice, only in one ear. What, what? Can you hear me in the control room? The mic was good two hours ago and they heard me shouting, they thought I was too loud so they turned it down. So don't worry about distortion...
Paul: Oh yeah, oh yeah...
John: You don't have to change nothing, just put it back where it was... it's a good mic... f**k it.

Track 8 - Stand By Me (6.02)
Paul (singing): yeah, oh yeah...
John: Now the guitar's gone bad

Stand By Me (5.56) John finally starts singing, joined by Paul, who echo's John's vocal in the second part of the verse. Someone in the control room has added echo to the vocals. Halfway through verse two, John's mic is turned off, leaaving only Paul singing. Of course, because Paul can still hear John singing, he keeps on adding his harmony vocals (you can vaguely hear John's vocal leaking onto Paul's). As a result, it sounds like a "karaoke" version of the song with the lead vocal removed. Towards the end, Harry Nilsson also joins in the "Stand By Me" refrain.

Track 9 - Cupid/Take This Hammer (3.10)

Stevie Wonder takes the lead vocal on this track, accompanying himself on keyboards. He sings two verses of "Cupid" with assistance from Paul. They then switch to "Working On The Chain Gang" with Stevie and Harry trading verses before Harry finds problems with the mics too.
Harry: Turn him up... turn Stevie up. Turn me up.
Paul: Oh yeah, oh yeah
Harry: Yeah, well the mic's gone bad.

There is another verse and then a guitar solo. Paul leads them into a short version of "Take This Hammer". The track is faded out, just as the three of them start singing.

Beyond the historical significance of this recording, it has little going for it. It is little better than most of the Get Back sessions. Paul's contributions are minimal (Ok, he was playing drums, so he may be excused for being less talkative), and the performances of the others are fairly ragged, particularly whoever is playing bass. Stevie Wonder's performance however, is still fairly impressive, and it is he who often keeps the others together, much the same way that Billy Preston managed to compensate for often shoddy playing from the Beatles during the Get Back sessions.
The problems with John's mic mean that most of the "Stand By Me" performances are useless, while he himself spends almost as much time swearing at the control room as he does singing. Although John's ad-libbed songs are amusing, John and Paul's performance of "Lucille" is the only song that stands up to repeated playing. (BTW, for those of you unable to get a copy of A Toot and a Snore in '74, the performance of "Lucille" is also available on Artifacts III (Disc 2, tr.11)).

The sound quality is very good stereo, and is only marred by various instruments and vocal tracks being mixed out by the control room.

Overall, for all of you hoping for some Beatle magic, don't hold your breath. It's only real value comes from being able to hear John and Paul together again for one last time. <HR></BLOCKQUOTE>

I should get this.



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4 weeks, 4 days

thanks, NWM. I love hearing candid Beatle banter. John seems pretty strung out.

[This Message Has Been Edited By jtal909 On May 30, 2001 04:48 PM]

Thanks for all that info Nowhere Man.

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JOHNS NOT DEAD! why do you talk as if he really is? its very unnerving (did i use it right) to hear you do so. im not sure if they have seen each other recently, or not. but johns not dead.

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LENNONLIVES!

And neither are you.

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4 weeks, 2 days