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Does it worry you at all, that there’s been a change?

Well, anything that deteriorates music bothers me a little bit. I mean, if when Beethoven lost his hearing, if I was alive, it would have bothered me. I have to be affected by it. It bothers me that some music is very boring. I hear a lot of disc jockeys saying, “Let’s throw this shit out.” I hear them saying there are so many fucking groups—so boring. I hear this so much, that I believe it. If it’s true then yeah, it bothers me. It bothers me enough to get back in.

JOHN LENNON

by Jann S. Wenner

January 21, 1971

What do you think of your album ‘Plastic Ono Band’?

I think it’s the best thing I’ve ever done. I think it’s realistic, and it’s true to the me that has been developing over the years from my life. “I’m a Loser,” “Help,” “Strawberry Fields,” they are all personal records. I always wrote about me when I could. I didn’t really enjoy writing third-person songs about people who lived in concrete flats and things like that. I like first-person music. But because of my hang-ups and many other things, I would only now and then specifically write about me. Now I wrote all about me, and that’s why I like it. It’s me! And nobody else. That’s why I like it. It’s real, that’s all.

I don’t know about anything else, really, and the few true songs I ever wrote were like “Help” and “Strawberry Fields.” I can’t think of them all offhand. They were the ones I always considered my best songs. They were the ones I really wrote from experience and not projecting myself into a situation and writing a nice story about it. I always found that phony, but I’d find occasion to do it because I’d have to produce so much work, or because I’d be so hung up, I couldn’t even think about myself.

On this album, there is practically no imagery at all.

Because there was none in my head. There were no hallucinations in my head.

There are no “newspaper taxis.”

Actually, that’s Paul’s line. I was consciously writing poetry, and that’s self-conscious poetry. But the poetry on this album is superior to anything I’ve done because it’s not self-conscious, in that way. I had least trouble writing the songs of all time.

Yoko: There’s no bullshit.

John: There’s no bullshit.

The arrangements are also simple and very sparse.

I always liked simple rock and nothing else. I was influenced by acid and got psychedelic, like the whole generation, but really, I like rock & roll, and I express myself best in rock.

How did you put together that litany in “God”?

What’s “litany”?

“I don’t believe in magic,” that series of statements.

Well, like a lot of the words; it just came out of me mouth. “God” was put together from three songs, almost. I had the idea that “God is the concept by which we measure pain,” so that when you have a word like that, you just sit down and sing the first tune that comes into your head, and the tune is simple because I like that kind of music, and then I just rolled into it. It was just going on in my head and I got by the first three or four, the rest just came out. Whatever came out.

When did you know that you were going to be working towards “I don’t believe in Beatles”?

I don’t know when I realized that I was putting down all these things I didn’t believe in. So I could have gone on, it was like a Christmas card list: Where do I end? Churchill? Hoover? I thought I had to stop.

Yoko: He was going to have a do-it-yourself type of thing.

John: Yes, I was going to leave a gap and just fill in your own words: whoever you don’t believe in. It had just got out of hand, and Beatles was the final thing because I no longer believe in myth, and Beatles is another myth.

I don’t believe in it. The dream is over. I’m not just talking about the Beatles, I’m talking about the generation thing. It’s over, and we gotta—I have to personally—get down to so-called reality.

When did you become aware that the song would be the one that is played the most?

I didn