Back The Last Days of John Lennon
Chapters (91)
  1. Cover
  2. Title Page
  3. Dedication
  4. Prologue
  5. Chapter 1
  6. Chapter 2
  7. Chapter 3
  8. Chapter 4
  9. Chapter 5
  10. —
  11. Chapter 6
  12. Chapter 7
  13. Chapter 8
  14. Chapter 9
  15. Chapter 10
  16. Chapter 11
  17. Chapter 12
  18. Chapter 13
  19. Chapter 14
  20. Chapter 15
  21. Chapter 16
  22. Chapter 17
  23. Chapter 18
  24. —
  25. Chapter 19
  26. Chapter 20
  27. Chapter 21
  28. Chapter 22
  29. Chapter 23
  30. Chapter 24
  31. Chapter 25
  32. Chapter 26
  33. Chapter 27
  34. Chapter 28
  35. —
  36. Chapter 29
  37. Chapter 30
  38. Chapter 31
  39. Chapter 32
  40. —
  41. Chapter 33
  42. Chapter 34
  43. Chapter 35
  44. —
  45. Chapter 36
  46. Chapter 37
  47. Chapter 38
  48. Chapter 39
  49. Chapter 40
  50. Chapter 41
  51. Chapter 42
  52. Chapter 43
  53. —
  54. Chapter 44
  55. —
  56. Chapter 45
  57. Chapter 46
  58. Chapter 47
  59. Chapter 48
  60. Chapter 49
  61. Chapter 50
  62. Chapter 51
  63. —
  64. Chapter 52
  65. Chapter 53
  66. Chapter 54
  67. Chapter 55
  68. Chapter 56
  69. Chapter 57
  70. Chapter 58
  71. Chapter 59
  72. —
  73. Chapter 60
  74. —
  75. Chapter 61
  76. —
  77. Chapter 62
  78. —
  79. Chapter 63
  80. Chapter 64
  81. Chapter 65
  82. Chapter 66
  83. Chapter 67
  84. —
  85. Chapter 68
  86. —
  87. Notes
  88. —
  89. ABOUT THE AUTHORS
  90. Photos
  91. Coming Soon

She can show him the right path, but she can’t stop him from going down the wrong one.

Chapter 48

Chapter 48

It’s better to burn out

Than to fade away.

—“My My, Hey Hey (Out of the Blue)”

The trouble begins even before Phil Spector pulls out the gun.

John’s so pleased to be working with the legendary producer of Imagine again—on an oldies album this time—that he cedes total control to Spector, something he’s never done before. He also starts drinking in the recording studio, something he’s never done before, either, but Spector encourages it. Besides, who’s going to stop him? May? Hardly.

The mood in Spector’s LA studio couldn’t be more different from the one at the studio in London. Far from the serious, private affairs John’s used to—where even the presence of wives and girlfriends had been frowned upon—Spector holds open-door sessions at A&M Studios that double as parties, with alcohol and celebrity visitors flowing nonstop. The producer himself shows up in costumes—as a priest or surgeon or karate champion—and wears a gun in a shoulder holster.

“The guys were all drinking—and John was being one of the guys,” May says. “Everyone was as blitzed as he.”

“John was exercising all his bad habits, as were we all, including Phil,” admits drummer Jim Keltner. “The only problem with that was that Phil was the producer, and somebody had to be, you know, sane.”

Spector doesn’t inspire confidence on that front. Privately, John calls him “the Vampire.” May worries about the gun, but John assures her it’s just for show—until the night Spector pulls it out and shoots it into the ceiling.

Fellow producer Mark Hudson recalls, “Spector pulled out a large gun and started chasing John through the hallways. John was trying to laugh it off but it was horrible.”

“Listen, Phil, if you’re gonna kill me, kill me. But don’t fuck with me ears. I need ’em,” John deadpans.

When Spector later disappears with the recordings and can’t be found, it’s almost a relief.

*  *  *

Another notorious group John falls in with also includes vampires: the Hollywood Vampires.

“The original Hollywood Vampires was a drinking club, a last-man-standing kinda thing,” says the club president, Alice Cooper. “People started calling us the Hollywood Vampires because we’d never see daylight. We figured instead of drinking the blood of the vein, we were drinking the blood of the vine.”