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John Lennon and Paul McCartney

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Paul McCartney Kisses On The Bottom Album Review

Paul McCartney "Kisses On The Bottom" Album Review :

Paul McCartney "Kisses On The Bottom" Album Review

Paul McCartney "Kisses On The Bottom" Album Review

Paul McCartney Kisses on the Bottom

Studio album by Paul McCartney

Released 7 February 2012

Recorded 2011: Capitol Studios, Los Angeles, New York, London

Genre Jazz, pop

Length 56:39

Label Hear Music

Producer Tommy LiPuma

Paul McCartney chronology

Ocean's Kingdom

(2011) Kisses on the Bottom

(2012) TBA

(2012)

Singles from Kisses on the Bottom

"My Valentine"

Released: 20 December 2011

"Only Our Hearts"

Released: 7 February 2012

Professional ratings

Review scores

Source Rating

Allmusic  

The A.V. Club

BBC Favourable

Chicago Tribune

Contact Music (Mixed) 

The Daily Telegraph  

Drowned in Sound (5/10)

The Guardian

The Independent

KPCC (Positive) 

Los Angeles Times

NPR (Positive) 

The Observer

Pop Matters (6/10)

Rolling Stone

 This table needs to be expanded using prose. See the guideline for more information.

Kisses on the Bottom is the 16th solo studio album by Paul McCartney, and his first since 2007's Memory Almost Full. The album was released on Hear Music on 7 February 2012. It has been released on LP and CD.

Contents   

1 History

2 Track listing

3 Reception

4 Release and promotion

5 Chart performance

6 References

7 External links

History

The album's title, "Kisses on the Bottom", comes from the album's lead track "I'm Gonna Sit Right Down and Write Myself a Letter," originally a hit for Fats Waller in 1935. Said McCartney on the album, "I worked with Diana Krall, and great jazz musicians like John Clayton. This is an album very tender, very intimate. This is an album you listen to at home after work, with a glass of wine or a cup of tea." The disc was helmed by jazz producer Tommy LiPuma who has previously worked with Miles Davis and Barbra Streisand, among others.

In the album's liner notes, McCartney said, "For years I've been wanting to do some of the old songs that my parents' generation used to sing at New Year...But we tried to work out a slightly different approach, and used a selection of songs that wouldn't be the obvious ones...that everyone tends to cover." McCartney also said working with LiPuma reminded him of his Beatles days with former producer, George Martin, in that both were knowledgeable and influential veterans in the music industry.

"My Valentine", the first song released from the album, features Eric Clapton on guitar. Stevie Wonder appears on another album track, "Only Our Hearts". McCartney plays acoustic guitar on two tracks, "Get Yourself Another Fool" and "The Inch Worm," but otherwise contributes only vocals to the album.

Track listing

No. Title Writer(s) Length

1. "I'm Gonna Sit Right Down and Write Myself a Letter"   Fred E. Ahlert, Joe Young 2:36

2. "Home (When Shadows Fall)"   Peter van Steeden, Jeff Clarkson, Harry Clarkson 4:04

3. "It's Only a Paper Moon"   Harold Arlen, E. Y. Harburg, Billy Rose 2:35

4. "More I Cannot Wish You"   Frank Loesser 3:04

5. "The Glory of Love"   Billy Hill 3:46

6. "We Three (My Echo, My Shadow and Me)"   Sammy Mysels, Dick Robertson, Nelson Cogane 3:22

7. "Ac-Cent-Tchu-Ate the Positive"   Arlen, Johnny Mercer 2:32

8. "My Valentine"   Paul McCartney 3:14

9. "Always"   Irving Berlin 3:50

10. "My Very Good Friend the Milkman"   Harold Spina, Johnny Burke 3:04

11. "Bye Bye Blackbird"   Ray Henderson, Mort Dixon 4:26

12. "Get Yourself Another Fool"   Haywood Henry, Monroe Tucker 4:42

13. "The Inch Worm"   Loesser 3:43

14. "Only Our Hearts"   McCartney 4:21

Deluxe Edition

The deluxe version of the album includes two additional tracks (including "Baby's Request", a cover of a Wings song from the Back to the Egg album), a download code for access to an exclusive live show available from Paul McCartney's website a week after the album's release, and longer liner notes and expanded album packaging, including three postcards.

No. Title Writer(s) Length

15. "Baby's Request"   McCartney 3:30

16. "My One and Only Love"   Guy Wood, Robert Mellin 3:50

Live From Capitol Studios

No. Title Writer(s) Length

1. "I'm Gonna Sit Right Down and Write Myself a Letter"   Fred E. Ahlert, Joe Young 2:42

2. "Home (When Shadows Fall)"   Peter van Steeden, Jeff Clarkson, Harry Clarkson 4:45

3. "Ac-Cent-Tchu-Ate the Positive"   Arlen, Johnny Mercer 2:51

4. "My Valentine"   Paul McCartney 3:22

Reception

In a review of the album for BBC Music, writer Patrick Humphries referred to the collection as "an album of neglected dishes from the great banquet of American popular music", before concluding that "what McCartney accomplishes here, in the best possible sense, is an album ideally made for Easy Listening".

Neil McCormick, reviewing the album for The Daily Telegraph, noted that of McCartney's two original compositions on the album it is "impossible to pick them out as contemporary songs amongst the standards" and that whilst "Only Our Hearts" is "unremarkable", the album's other original, "My Valentine", "has the ring of a classic".

Release and promotion

A stream free live performance was hosted by iTunes on February 9, 2012. McCartney performed live from Capitol Studios in Los Angeles, where much of the album was recorded. People tuned into the show by accessing iTunes on their PCs or Macintosh computers. McCartney performed "My Valentine" live at the 2012 Grammy Awards with Diana Krall and Joe Walsh. The single climbed to No.23 in the February 18, 2012 Billboard Adult Contemporary Chart after its debut at No.28.

It has debuted at No.3 on the UK album chart and No.5 on the Billboard Top 200 Album Chart. The album also debuted at No.17 on the Billboard Jazz Album Chart in the U.S. The album was Paul McCartney's 18th Top Ten charting album in the U.S. as a solo artist, giving him a Top Ten album in five consecutive decades as a solo artist, and six consecutive decades including his tenure with The Beatles.

In the U.S., the album debuted in the Top Ten on the Billboard Top 200 Album Chart 48 years to the month after the album Meet The Beatles! cracked the Top Ten in February 1964.

=CD review: Paul McCartney 'Kisses on the Bottom'=

Published: February 17, 2012

POP

Paul McCartney “Kisses On the Bottom” (Hear Music/Concord)

The title “Kisses On the Bottom” is a line lifted from the 1935 Fats Waller hit, “I'm Gonna Sit Right Down and Write Myself a Letter,” but it's also a sample of Paul McCartney's sometimes — shall we way, uh — cheeky sense of humor?

But there's a lot more fun going on here than just a smart-alecky album title. McCartney isn't the first British artist to pay tribute to the so-called “Great American Songbook,” but he sure does a better job of it than a certain gravel-voiced crooner who seems to have made a second career out of covering the old standards.

It's evident from the beginning that Macca loves these old tunes that his jazz band leader father used to perform on the piano at home, treating them with respect and inviting Diana Krall and her band to bring a touch of jazzy class to the aforementioned Waller number with a bouncy midtempo piano and brushed snare arrangement as he sings: “I'm gonna sit right down and write myself a letter / And make believe it came from you / I'm gonna write words oh so sweet / They're gonna knock me off my feet / A lot of kisses on the bottom / I'll be glad I got 'em.”

Smoky slow-dancers such as “Home (When Shadows Fall)” (first recorded by the Dorsey Brothers in 1931) and “More I Cannot Wish You” (from the 1950 musical “Guys and Dolls”) are warmed by Krall's combo and a full orchestral string section, the latter song using the arrangement Johnny Mandel first created for Frank Sinatra.

The London Symphony Orchestra also brings muted, shimmering beauty to McCartney's heartfelt reading of the Irving Berlin classic “Always,” and a couple of other luminaries show up to lend their distinctive touches to the two McCartney originals here. That's Eric Clapton adding crystalline acoustic guitar to the velvet-and-candlelight mood of “My Valentine,” while Stevie Wonder brings just the right shades of harmonica highlights to the yearning album closer, “Only Our Hearts.”

The sweet sincerity evident in McCartney's voice — which still retains its smooth timbre 69 years on — is likely inspired by Nancy Shevell, his new wife, but McCartney has always brought romantic honesty to his love songs, whether they were silly or not.

— Gene Triplett

=+Paul McCartney: behind the scenes of the Kisses on the Bottom album photo shoot=

Behind the scenes with Sir Paul McCartney at the photo shoot for his new album, Kisses on the Bottom, with his daughter Mary as the photographer.

By Clive Morgan4:24PM GMT 12 Feb 2012Comments

For his latest album, Kisses on the Bottom, Sir Paul McCartney enlisted his daughter Mary to take the pictures to coincide with the album.

The album, Sir Paul McCartney's first studio album in five years, showcases the former Beatle on a "deeply personal journey" covering classic American songs that inspired him and bandmate John Lennon when they wrote their own tunes.

Here is a behind-the-scenes look at the photo shoot.

Talking about the album, McCartney said: "When I kind of got into songwriting, I realised how well structured these songs were, and I think I took a lot of my lessons from them."

"I always thought artists like Fred Astaire were very cool. Writers like Harold Arlen, Cole Porter, all of those guys – I just thought the songs were magical. And then, as I got to be a songwriter I thought it's beautiful, the way they made those songs."

Teaming up with Grammy-winning jazz musician Diana Krall and producer Tommy LiPuma, the ex-Beatles frontman recorded his vocals in a booth without instruments for the first time in his musical career.

"It was very spontaneous, kind of organic, which then reminded me of the way we'd work with the Beatles. We'd bring a song in, kick it around, when we found a way to do it we'd say 'OK, let's do a take now' and by the time everyone kind of had an idea of what they were doing, we'd learnt the song. So that's what we did, we did the take live in the studio," said McCartney.

Sir Paul is the last of the Beatles to receive the honour; his star now sits outside the Capitol Records building, next to those of the other Fab Four members, Ringo Starr, George Harrison and John Lennon – and even a star for the band itself.

He will also be performing at the 2012 Grammy Awards in Los Angeles.

=McCartney's 'Kisses on the Bottom' charts in top 10 on Billboard, iTunes=

Steve Marinucci

Beatles Examiner

Paul McCartney's "Kisses on the Bottom" will make its debut at #5 on the Billboard 200 Thursday after selling 74,000 its first week, the magazine says.

The album is also doing well at iTunes, where it's ranked the 10th most popular album on Wednesday. The album's single, "My Valentine," was ranked #117 there. 

UPDATE: McCartney's 'Kisses on the Bottom' leaps to top of jazz charts

Another U.S. chart, Hits Daily Double.com, also shows "Kisses on the Bottom" at #5.  

The album is also making chart showings all around the world. On Australia's ARIA (Australian Recording Industry Association) chart, it debuted at #25. On the Belgian Flanders chart, it debuted at #46, while on the Wallonia chart , it was #45.

On the Dutch Media Markt album top 40, it's at #15, while on the Hungarian Mahasz chart, it debuted at #34. On the Norwegian VG Lista chart, it's at #9. And on the Swedish Sverigetopplistan chart, it's #29. 

With the Billboard 200 listing, "Kisses" becomes McCartney's 18th top 10 album after the Beatles.

=Review====

The former Beatle has a great reverence for standards and he does them proud on this very charming album : By CLAIRE SUDDATH February 16, 2012

Kisses on the Bottom

Year: 2012

Artist: Paul McCartney

Label: Hear Music / Concord Music Group

Here’s a story my father likes to tell:

It’s 1967 in Jackson, Mississippi and he’s 18 years old, riding in the car with my grandfather. For several years the two have had a recurring argument about rock ‘n’ roll, specifically the Beatles. My dad thinks their music is revolutionary while my grandfather says the Fab Four make nothing but noise. Instead, he favors big band music and songs by Irving Berlin.

The car’s radio is tuned “to some Lawrence Welk-type station,” as my dad remembers it, which is playing an upbeat, piano-based instrumental song full of soaring horns and string instruments. They’re well into their Beatles argument when my grandfather gestures to the radio and says, “Now this is a good song. This is real music. If the Beatles wrote something like that, I might like them.” My dad turns to his father.  “They did,” he says. “That’s an instrumental version of ‘Good Day Sunshine’.”

“Well, then they should have played it that way to begin with,” my grandpa harrumphs. Forty-five years later, thanks to Paul McCartney’s new album Kisses on the Bottom, my grandpa finally got his wish.

McCartney turns 70 this year. It’s surprising, I know. Maybe it’s because his hair is still (dyed?) brown and he still fits into his slender-legged suits, but he doesn’t seem that old. I saw him play the Apollo Theater last year and he belted the ending of “Hey Jude” with as much energy as he did when the song was first recorded. Macca’s still got it, but you wouldn’t know that from listening to Kisses on the Bottom. There is no ‘it’ there. No rocking, no rolling, nothing that will take you above a resting heart rate. The Beatle appears to have finally grown old.

Kisses is a collection of 1920s, ‘30s and ‘40s standards that McCartney has known since childhood — his father was a former big band member, after all. From tunes such as “Your Mother Should Know” and “Martha My Dear” (and of course the “woke up, got out of bed” part in “A Day in the Life”), it’s clear that this musical era influenced his songwriting. McCartney has great reverence for these classics and he does them proud on Kisses, which on the whole is a very charming album. It’s produced by Tommy LiPuma and arranged by Alan Broadbent and Diana Krall (who also plays piano on it). The record feels relaxed and effortless, as if McCartney simply got bored one afternoon, pulled an old songbook off the shelf, called up a few friends — Stevie Wonder and Eric Clapton make brief appearances—and recorded some songs for a lark.

Listen to McCartney deliver the 1940s tune “Ac-Cent-Tchu-Ate the Positive” and it’s easy to imagine him soft shoeing his way through a song-and-dance routine. He even twists his voice on “My Very Good Friend the Milkman” into a nasal whine that very much resembles the one belonging to the song’s original singer, Fats Waller. But the elderly creak is beginning to become apparent in McCartney’s voice. It’s faint, but it’s there.

Kisses has been called McCartney’s first return to his roots. But that’s not exactly correct. In the late 1980s, he released an album called Снова в СССР in the Soviet Union (U.S. audiences heard it in 1991) that explored early rock ‘n’ roll songs that more directly influenced his Beatles work. The album even included a rendition of Little Richard’s “Lucille,” which McCartney had covered back in the Fab Four’s early days. Kisses isn’t, therefore, a definitive collection of tunes that McCartney feels were most important in his life. They just seem to be the ones that he’s taken with right now.

And he is very taken with them. There are just two McCartney originals on the album, “Valentine” and “Only Our Hearts.” The former is a sparse love song featuring Eric Clapton on finger-picked guitar, while the latter’s orchestral arrangement sounds exactly like something that might have been played on my grandfather’s favorite radio station. They highlight just how fully he has embraced this musical mode — and why we might not get another “Maybe I’m Amazed” any time soon.

As for the album’s weirdly suggestive title, it’s taken from a line in another Waller song “I’m Gonna Sit Right Down And Write Myself a Letter,” that serves as the album’s opening track. “A lot of kisses on the bottom / I’ll be glad I got ‘em,” the song goes, referring to XOXOs at the end of a letter and not, as people unfamiliar with the song might assume, an actual human bottom.

McCartney is well aware of his title’s double meaning. Hear Music, his record label, notes in the record’s accompanying press release that he’s “apparently had some fun” with the title. McCartney’s always had a cheeky sense of humor — after all, this is a man who once wrote an entire song about a three-legged dog. But he has a reputation for the overly sentimental (“Silly Love Songs,” anyone?) that can make a Valentine’s Day store display look heartless. Kisses on the Bottom is a terrible title, and it makes it hard to take the album seriously. (The cover art, in which a doe-eyed Macca holds an oversized bouquet of flowers, doesn’t help either).

McCartney’s solo career has had its highs ( McCartney, Ram) and its lows (McCartney II), but nearly every album contains one truly great work of songwriting. Kisses on the Bottom is no exception — even if this time, the album’s greatest tunes were all written by others.

Tags :  album review, Beatles, kisses on the bottom, album review, music, Paul McCartney, music review, review,

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Remastering The Beatles With Cedar Audio Retouch System

The Beatles Remastered with Cedar Audio Retouch System

Remastering The Beatles Pro Audio Features by Audio Pro Cedar audio retouch beatles remastered



Remastering The Beatles Pro Audio Features by Audio Pro - cedar audio retouch, beatles remastered, cedar audio retouch system

 
Remastering The BeatlesAndrew LowSep 8Audio Pro talks to the team of Abbey Road engineers who spent the past four years remastering the entire Beatles catalogue…
Roughly four years ago, Allan Rouse got the call from EMI that the entire Beatles catalogue needed to be remastered. Like Hannibal on the A-Team, Rouse needed only to make the call and his men sprang into action. The years between then and now have comprised long hours spent by a meticulous team that worked from the original masters and laboured over every detail at each step of the process.
The team consisted of Rouse as project co-ordinator, recording engineers Guy Massey, Paul Hicks and Sam Okell, mastering engineers Steve Rooke and Sean Magee, and Simon Gibson, Cedar Audio restoration engineer.
With the men assembled and plans in place, Guy Massey began the process for the stereo versions while Paul Hicks tackled the monos. Hicks explains: “We wanted to make the recordings sound the best they could, very respectfully. Our first process was spending a lot of time going through quarter-inch machines and a range of EMI test tapes from over the years.”
Loading the tapes
After trying out several machines, the team chose a Studer A80 tape machine with a 1972 test tape. Each song was then loaded from the original analog tapes through Prism Sound’s ADA-8XR multi-channel modular ADA converters into Pro Tools. Massey states: “Pro Tools was treated as a master machine and we didn’t use any plugins. The songs were formatted to 24 bit/192kHz and video referenced. The speed of the tape machine was always watched to make sure it was running at the right speed.
“The tapes are still in great condition – nevertheless we loaded everything track-by-track, cleaning the tape machine heads and rollers between each song.
“The original transfers were done in 1986 when digital was in its infancy. I am not knocking the original transfers, but I think from the point where we re-transferred and archived the master tapes, we were already a step ahead because the technology has come on in leaps and bounds. What some people may perceive as an added eq is actually the result of better transfers, especially in the low end and the high top. Upwards of twenty tracks were not eq’d at all because we didn’t think we could improve them in any way.”
The team at Abbey Road was very conscious of not affecting the spirit of the songs from their original versions. As such, they performed A/B listening tests with the existing CDs and vinyl at every step of the process. Hicks comments: “It’s not a project where we could forget the past. We had cutting notes from the originals so that we could see what they were actually doing.”
“Once we archived the masters we would get a print out of the lyrics and timings and listen to each track on a separate basis three or four times, make detailed notes of technical noises that we felt we would like to remove or reduce,” Massey explains. “We only addressed things that we considered to be extraneous to the performance, such as clicks from mics and faders, tape drop outs, bad edits, mic pops and sibilance.
“We then took the master 24-bit/192kHz file to Simon Gibson in the restoration suite and he used Cedar Retouch to fix anything we wanted to change. We then chopped those fixed bits back into the master file so that we had a new, edited master file. The whole team deliberated every change and we were determined to keep the audio as pure as possible.”
Massey states that de-noising was a bit of a contentious issue, thus it was used for less than one per cent of the entire catalogue – five minutes of the 535 total minutes. “De-noising was used for things like intros or if hiss was enough that it was excessive, but we have only taken it down very subtly.”
Mastering
Once all the edits were made the files were taken to the mastering suites at Abbey Road where Steve Rooke and Sean Magee handled the stereo and mono recordings respectively.
“It was an analog process from that point on,” Rooke comments. “The tracks came out of Pro Tools through the Prism AD8s into the analog domain and were then injected into the studio’s 1972 EMI TG mastering console. We then eq’d and transferred them to a Sadie Series 5 PCM 8 DAW at 24-bit/441kHz. The main carrier was going to be CD so we kept it at 44:1 to avoid the extra process of sample rate conversion, therefore keeping the signal as pure as possible. Once each album was compiled we did a digital capture through a Jünger DO1 digital limiter, the limiting was done afterwards to give us more flexibility. We didn’t want to limit as we eq’d because it would have been difficult to change at a later date. The team listened to them post limiter.
“When we were capturing the final mastered version, we played the songs out of Sadie in the digital domain through the DO 1 limiter into a Prism AD-124 AD converter for noise shaping. All the songs were noise shaped and dithered back into 16-bit and then captured back into the Sadie at 16-bit/441kHz, which is what we made the masters from.
“During the mastering process we listened to each track and decided where we wanted to go with it, if we wanted to add or remove eq to help instruments or vocals. We went through each track, made the adjustments and then recorded into Sadie.
“The next day we listened to the tracks in Studio 3, talked about it and made notes for changes. The changes were made and we started the entire process over again until we were all happy with the tracks.
“We mostly used the eq on the TG desk, but it is in dB steps so any additional eq’ing was done on a Prism ME2 to hone into something with finer steps or target certain frequencies. Different parts of certain songs were treated in different ways. If a chorus was a bit bright or brittle we would adjust that accordingly. This was especially apparent on a song like Yellow Submarine because the sound effects were so bright. I am the Walrus was another tricky one because it was so different from the rest of the catalogue.”
Limiting
“All modern day CDs are limited very heavily because everyone wants to be the loudest,” Massey states. “We spoke about this at the very beginning and it was unanimously established that the stereos would be limited slightly because they are aimed at the modern market. The monos are more for the collectors so they were not. The stereos are probably three to four dBs louder than the original, so a lot of the time the limiters are not working.”
Rooke adds: “It is just the very fast transients that would normally show over level on the digital metres that it took down. There are still waveforms to be seen. We really wanted to keep the dynamics.”
“We liked a bit of limiting because we felt it made the recordings a little more exciting, but not to the point where we would be upsetting the original dynamics,” says Massey. “Some modern recordings really shout at you and we didn’t want to do that to these songs. This is a back catalogue that has never been remastered before and everybody knows The Beatles. We knew that fans were going to be inspecting the catalogue through a microscope and we wanted to get it right.
“The purist might ask why we didn’t just transfer the songs straight from the quarter-inch machine straight into Sadie, but we felt that we wanted to address anything that they would have wanted to remove. When I do a recording I don’t want to hear pops all over the vocal – it annoys me. If The Beatles were recorded today I’m sure they would have addressed those same issues.
“With all the changes that we made, if we felt it interfered musically we wouldn’t do it. For instance, the chair sound at the end of A Day in the Life or Ringo’s squeaky drum peddle – they are part of the history and vibe of the song so we didn’t want to remove those things.”
“It takes a lot of time to get the confidence to get your head down and go for it on a project like this,” Hicks states. “I have to be happy and then the team has to be happy and then Rouse and then Apple and The Beatles and then that is where it stops. It is just too big.
 “If you went into the project thinking about all the people who are going to analyse the waveforms you would never get anything done. We did what we thought was right and hope that everyone likes it.”
http://www.abbeyroad.co.uk/
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The Beatles HELP! Promo Video 1965 REMASTERED

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Love me do: Yoko Ono reveals it was Paul McCartney who saved her marriage to John

Love me do: Yoko reveals it was Paul who saved her marriage to John

Last updated at 5:45 PM on 10th October 2010
It became a legendary event in John Lennon's increasingly eccentric life - famously known as 'the lost weekend'.
And now, on the day John Lennon fans around the world are celebrating what would have been his 70th birthday, his widow, Yoko Ono, has revealed what happened during those days when John disappeared with their pretty personal assistant.
And despite a well known war of words with Beatle Paul McCartney, Yoko credits Macca with actually saving their marriage.
John and Yoko had separated in the summer of 1973 after a period of marital strife, and subsequently Lennon began a relationship with his personal assistant May Pang - a collusion Pang says was entirely orchestrated by Yoko.
Yoko continued to stay in touch with her errant husband but it was not until they met backstage at an Elton John concert in November1974 that they became reconciled.

John Lennon and Yoko Ono at their home at Tittenhurst Park

Genuinely worried: Paul McCartney, pictured earlier this month, wanted to help John sort out his marriage, Yoko said in an interview today

But the surprise element of the story is that Yoko reveals Paul McCartney stepped in and brought the couple back together.
That the two were not on good terms and a feud developed after Lennon left the Beatles is well known.
Yoko tells The Times: 'I want the world to know that it was a very touching thing that he did for John.

'He was genuinely concerned about his old partner. Even though John was not even asking for help - John, Paul, all of them were too proud to ask anything - he helped. John often said he didn't understand why Paul did this for us, but he did.'
As Yoko recounts, Paul and Linda McCartney visited her in New York early in 1974, and they talked long into the night.
Paul asked Yoko what would make her take John back and she told him that if John courted her she would perhaps consider it.
Paul then visited John in Los Angeles where he was living with May Pang, and according to Yoko advised him on how to get Yoko back.
The fact that John immediately tried to court Yoko, and came back to New York, was hugely important she says.

He made several attempts to woo her, including taking her to a Man Ray exhibition and to see a film, after she watched him perform at the Elton John concert and realised it could all begin again.

John Lennon and May Pang (left) at the Beacon Theatre in New York, shortly before he became reconciled with Yoko Ono after Elton John's concert (right) at Madison Square Garden, New York in November 1974

Less than a year after they were reunited their son Sean was born, on John’s birthday.
To mark what would have been John's 70th birthday Yoko is in Iceland today to light the Imagine Peace Tower in Reykjavik bay’s Videy Island.
She lights the Tower every year on the same day, sending a vast beam of light shooting upwards into space, and it remains lit until December 8, the day he was murdered by Mark Chapman outside the Dakota building in New York where they lived.

Yoko also reveals that John preferred to celebrate her and their son’s birthdays rather than his own, explaining that they would usually have a quiet, private party.

He was not happy about reaching 40, she added, but believed had he reached 70 he would have been ‘energetic and very wise and enjoying life’.
There are a number of Lennon anniversary celebrations, notably a massive re-issue of solo Lennon material which Yoko personally remastered.
It is the largest project of its kind since the much-acclaimed reissue of the Fab Four’s catalog in 2009.

Good relationship: Sean Ono Lennon (left), Yoko Ono (middle) and Julian Lennon (right) pictured last month in New York. Yoko insists the brothers received the same amount from John's estate

There will also be a concert in Japan on December 8, the day of his death.
The Dream Power Concert will have Japanese artists singing Lennon songs and all the money will go towards schools in Africa, Asia and South America.
Yoko is at pains to point out that Lennon’s children enjoy a normal relationship as brothers, and her and Sean were photographed recently with Lennon’s first wife, Cynthia and their son Julian at the premiere of Nowhere Boy, the film about John’s early days.
She ends the interview by saying that she feels John is still with her, guiding her and giving her ideas. ‘Yoko in her own words’ will be broadcast on Radio 6 at 8pm tomorrow.
Today, May Pang lives just outside New York City, and has two children.

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