[atari 2600]

It really isn't all that. The highlight is Stevie singing on the last track and, of course, John's incessant ranting.
The link was definitely active when I first posted it, but it's not now.

Originally Posted by me

here it is in mp3 at a blog
http://rawkblog.blogspot.com/2007/07...-toot-and.html

They were intoxicated during this. There are a few comments to that effect made here and there, hence the boot title. It marked the last time John and Paul ever played together.

Here's some youtube action of it with the (just the) music audio and archival photos to serve as the video. Additional links in the right margin, as always.
http://www.youtube.com/watch?v=IONPHdCQ-Ak

[atari 2600]

new link http://licorice-pizza.blogspot.com/2...and-snore.html
track-by-track .mp3 downloads

 

Originally Posted by licorice pizza blog

For the most part, Lennon is on lead with his guitar, while McCartney sings harmony and plays drums. Stevie Wonder sings and plays electric piano, Harry Nilsson provides vocals, Jesse Ed Davis is on guitar, and Bobby Keyes plays the saxophone.

The recording date is 3/31/74.

(from Bootleg Zone) a transcript of the session:
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.

JL: 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.
JL (singing): And I fell upon my ass...nobody seemed to notice...I was wearing mother's bra...and she was wearing oh dear(?)...but noone 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...its 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.

JL: 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 teack 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...

JL: 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 mike to Lennon) Yeah, its just that we had a jam and nobody knows when to change. You do a twelve bar, or somebody picks a song
PMC (off mike): 'Little Bitty Pretty' (?)
JL: Anybody can sing...no no no, anybody know...we did 'Do Ya Wanna Dance' for three fuckin' sessions.

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

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

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

PMC: Hey Steve!
JL: 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, caus I've been screaming here for hours...its 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)
JL: Who's got a mike besides me? Come on, somebody join in
PMC: Hey!
JL: OK, OK, yeah, hey hey - that's it...

Lucille (5.48) 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 it, 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 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 abd vocal 'drop-outs' and then another more ragged guitar led solo by John which lasts for two choruses before the band grinds to a halt(?)

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


Track 5 - Midnight (aka 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'.

JL: 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...
PMC: Hello?
JL: (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

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

The band tunes up.

JL: G? G?


6.
Stand By Me (orig. by King/Leiber/Stoller/Jones/Glick)

Track 6 - Stand By Me (2:15)
JL: Lets do a twelve-bar harmony to 'Stand By Me'

The band tries to play the riffs.

JL: OK OK OK, you get it, you get it good. OK OK...lets not get to serious, we're not getting paid...we ain't doing nothing but sitting here together...OK, lets do that, and anybody who gets bored with me, take over...two, two, two.
Track 7 - 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...

JL: What happened to the earphones? OK, lets do it again...hey, hey hey!
PMC: (singing): darling...
JL: Right, yeah
PMC: Woah
JL: 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 8 - Stand By Me (6:02)
PMC: (singing) yeah, oh yeah...
JL: Now the guitar's gone bad

Stand By Me (5.56) John finally starts singing, joined by McCartney, who echo's John's vocal in the second part of the verse. Someone in the control room has added echo to the vocals. Half way through verse two, John's mike 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 'kareoke' 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/Working On The Chain Gang/Take This Hammer (Medley) (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 For The Chain Gang' (?) with Stevie and Harry trading verses before Harry finds problems with the mikes too.

HN: Turn him up...turn Stevie up. Turn me up
PMC: Oh yeah, oh yeah
HN: Yeah, well the mike'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.

Cupid (Cooke)

Stevie Wonder takes the lead vocal on this track, accompanying himself on keyboards. He sings two verses of 'Cupid' with assistance from Paul.

Working For The Chain Gang (unknown)

'Working For The Chain Gang' (?) with Stevie and Harry trading verses before Harry finds problems with the mikes too.

HN: Turn him up...turn Stevie up. Turn me up
PMC: Oh yeah, oh yeah
HN: Yeah, well the mike's gone bad

There is another verse and then a guitar solo.

Take This Hammer (Terry/McGhee)

Paul leads them into a short version of 'Take This Hammer'. The track is faded out, just as the three of them start singing.

[atari 2600]

The title of this thread reminds me of another bootleg.
It's called "Let's Have a Party" and it's by "John Lennon & Friends."


It also exists as a home movie (here's a clip: http://www.youtube.com/watch?v=JYzoXenB5RU) as well as audio, but all I could find was the audio.

The recording date is 9/10/71.

.mp3 blog link http://basismusic.blogspot.com/2008/...ave-party.html

It's a sort of sloppy, acoustic-based singalong at Lennon's 31st birthday party in a Syracuse, NY hotel room. Guests include Ringo, Eric Clapton, Phil Spector, and Allen Ginsberg.

 

tracks

01 - What'd I Say (3:12)
02 - Yellow Submarine (2:47)
03 - On Top Of Old Smokey (1:58)
04 - Goodnight Irene (2:56)
05 - He's Got The Whole World In His Hands (2:49)
06 - Like A Rolling Stone/Twist And Shout/Louie Louie/La Bamba (3:14)
07 - Bring It On Home To Me (2:33)
08 - Yesterday (1:47)
09 - Tandoori Chicken (2:14)
10 - Power To The People (0:50)
11 - Maybe Baby (2:28)
12 - Peggy Sue (2:51)
13 - My Baby Left Me (2:19)
14 - Blue Suede Shoes (3:04)
15 - Crippled Inside (1:01)
16 - Give Peace A Chance (3:10)
17 - Crippled Inside (0:29)
18 - Uncle Albert / Admiral Halsey (1:50)
19 - Happy Birthday (1:00)
20 - Uncle Albert / Admiral Halsey (0:16)
21 - My Sweet Lord (0:16)

[atari 2600]

Anyway, listening to a demo of "I Found Out" right now that is considerably better than anything in those links.

[noisereductions]

Thank, Atari! Yr awesome.

I like the new blog with individual tracks, too. Thanks, man.

[gmku]

I find the post-POB period of Lennon's career quite boring and annoying. He became way too self-obsessed. It starts with Imagine, which still manages some moments of brilliance. But Mind Games, Walls and Bridges, etc. Bleh.