60 YEARS AGO TODAY:
11/24/65 – Another Frank Sinatra television special airs on NBC-TV. This one’s called “Frank Sinatra: A Man And His Music”
Also on 11/24, The Young Rascals begin recording “Good Lovin’.” It will go on to become a #1 Record next year
Len Barry's biggest solo hit, "1-2-3," topped the Cash Box Chart and got as high as #2 in both Billboard and Record World. (It hit #1 here in Chicago, too, on the WLS Silver Dollar Survey.)
(You also heard John with his group The Spokesman on the track we featured a short while back, "The Dawn Of Correction," which was written and recorded as sort of an answer song to Barry McGuire's #1 Hit "Eve Of Destruction.")
You can read some of John's special memories on the other Forgotten Hits website ...
https://fhjohnmadara.blogspot.com/
Len Barry started his solo career after leaving The Dovells, a Cameo-Parkway band that scored big with the Top Three Hits "Bristol Stomp" and "You Can't Sit Down" in 1961 and 1963 respectively.
John shares some of his special "hands-on" memories of Len Barry's big hit below. (This article also appears on the forgottenhits.com website)
***
Here's
a copy of the ORIGINAL sheetmusic for 1-2-3 ... showing the title as "One, Two, Three" ... and JOHN MADARA, DAVID WHITE and LEONARD BORISOFF as the songwriters. After BERRY
GORDY's 1965 lawsuit, future publications would also list the MOTOWN
Songwriting Team of HOLLAND, DOZIER and HOLLAND in these songwriting
credits.
After
scoring five Top 40 Hits with THE DOVELLS, LEN BARRY decided to pursue a
solo career. In the liner notes of his Greatest Hits CD, here is how he
describes the excitement of "1-2-3" becoming such a HUGE chart success:
"When we did
'1-2-3', we got to where I was trying to go since 1961. I was really
at home with that. I was a Motown act as far as I was concerned. It was
the second take. We did it live in the booth. There were no overdubs, no
punches. It was great! It had never sounded like that --- ever! I said
to myself, 'The Man upstairs is hearing me.' If you listen to '1-2-3,' I have sung better, but I have never communicated with the public like
that, ever. Because on that song, the vocal is total desperation. I was
saying to the public, 'Look, I'm 22, let's get serioius because I don't
know what I'm gonna do if you don't buy this record.' That desperation
was in the performance."
About the song itself, BARRY had this to say:
"I didn't write that for me. I wrote that for the Pixies Three. They had '442 Glenwood Avenue' and such. That's why it had numbers. I don't know why they didn't do it, but they didn't do it --- and I should be grateful."
JOHN MADARA: With regards to writing 1-2-3, you told me that Len Barry had said that it was written for The Pixies Three. That's not correct, because by 1965 we were not producing anything for Mercury Records anymore. I remember clearly that we were set to have a writing session at the office for Lenny's recording session, and I walked in with the melody and a title of "1, 2, and 3". Lenny said, "Let's make it 1-2-3." So we sat and wrote the song ... with no help from Motown.
BARRY's
last DECCA single was cowritten with and produced by KENNY GAMBLE and
LEON HUFF, two OTHER figures who would later feature prominently in the
career of JOHN MADARA. One of MY personal favorite LEN BARRY records is
his take on SOMEWHERE, from the Hit Musical WEST SIDE STORY. (It hit #17
on the CASH BOX Chart in 1966.) This was another song selected and
produced by the team of MADARA and WHITE, much to the disdain of LEN
BARRY ... especially when they arranged it to sound similar in style to
his two previous hits, 1-2-3 and LIKE A BABY. BARRY felt pigeon-holed
by the sound.
LEN BARRY: SOMEWHERE I didn't even want to do ... I wanted to throw up. The drummer must have died from repetition.
Well, personally, I really LIKE this version!!!
For more on BERRY GORDY's penchant for lawsuits, you might find our BOBBY PARKER / YOU'VE GOT WHAT IT TAKES article interesting ... you can still find it posted on The FORGOTTEN HITS Blog Page here:
FH Reader and Contributor Clark Besch tells us about the sad state of political affairs as they pertain to the rock and roll world …
Well, Trump may like "YMCA," but he doesn't like rock 'n roll. So, he has taken on windmills as being ugly and now he apparently hates what makes our cities great: STREET DESIGNS! How much more slander can we take from this guy?
Maybe he will go to work blocking youtube music videos soon, too?
The attached article is from the New York Times describing why THIS cool monument to Buddy Holly is being removed because Trump doesn't like such designs on our roadways. Here's the latest one, from Lubbock, Texas, home of the great Buddy Holly.
OK, this is just wrong … there should be NO restrictions when it comes to a city honoring their local heroes … and inspiring other citizens to strive for greater heights. (Seriously, how cool is this graphic??? And how seriously UNcool is it for any form of government here in the land of the free and the home of the brave to try and restrict what can ONLY be interpreted as a showing of love for perhaps Lubbock, Texas' most famous resident and citizen ever?) This isn't some obscene, obnoxious graffiti defacing the public streets of Lubbock ... this is a loving tribute to a true innovator of an art form, INTENTIONALLY put up here to share that love and tribute. (It's also a really cool-looking logo ... kind of an "in joke" to all us rock and rollers out there who never believed it for a second when mainstream America tried to tell us 70 years ago that rock and roll music was "just a fad that'll be over and done within fifteen minutes.") What's next ... will Trump lobby Britain to have the Abbey Road crosswalk removed because it has since gone on to become a pop culture landmark and no longer serves its purpose as simply a traffic indicator? Keep in mind that this is the same Donald Trump who just a few weeks ago released an AI-generated video of himself, labeled as "King Trump," dumping a load of waste over a crowd of pedestrians (and protesters). So much for keeping the streets clean and free of objectionable matter.
I wish I would have known about this sooner … this is the kind of thing that needs to go viral and have US citizens, congressmen, mayors and more expressing their outrage. THIS should be "on the cover of the Rolling Stone" ... and Billboard Magazine, too, for that matter ... The Rock And Roll Hall Of Fame should be covering this as major rock news as an outcry of help and support is needed to stop our government from imposing such a RIDICULOUS statute.
Unfortunately, we’re probably too late in this case … but I’m hoping that EVERY SINGLE DJ in America and around the world picks up this story and gets the word out there ... post this photo on your social media pages ... run a link to tonight’s posting and let it be known. Buddy Holly, one of rock and roll’s pioneers and greatest innovators, deserves every honor ever bestowed upon him ... and in the scheme of all that is wrong with the world today, this “pressing issue” seems to be hardly anything more than a pimple on a tiny gnat’s ass. How is it even on Trump's radar??? Why doesn’t our president worry about the REAL issues out there that might improve our economy and way of life? Seriously, this man wastes SO much time on social media criticizing pop stars like Beyonce and Bruce Springsteen and Taylor Swift and TV late night hosts like Jimmy Kimmel and Stephen Cobert … get down to the REAL issues and maybe you can actually make an impact that IMPROVES the world we live in. The very idea of a government dictating that something like this graphic has to be removed sickens me. PLEASE help me to get the word out … this ridiculousness needs to stop!!! (kk)
Rolling Stones fans (and collectors) have the chance to pick up a small amount of Satisfaction as ABKCO releases a 4” tiny vinyl edition of their classic (and first US #1 Record) “Satisfaction” … and it’s really cool looking!
On Friday, November 21st, ABKCO Records released a limited-edition 4-inch version of the band’s breakthrough single “(I Can’t Get No) Satisfaction.” It’s all part of the 60th anniversary celebration. The new configuration of the legendary single is part of Tiny Vinyl’s series sold exclusively at Target. The record is housed in an equally tiny sleeve featuring a meticulous recreation of the original 7-inch picture sleeve artwork. The cover showcases award-winning photographer David Bailey’s portrait of the group’s original lineup of Mick Jagger, Keith Richards, Charlie Watts, Brian Jones, and Bill Wyman. True to the 1965 US version, the B-side is “The Under Assistant West Coast Promotion Man.” The release makes for an ideal stocking stuffer for any reasonably-sized stocking.
Based in Nashville, Tiny Vinyl (https://www.tinyvinyl.com/) markets authentic vinyl records that play on most manual turntables. These discs are made with bio-attributed vinyl that use 90% less material than standard 12-inch sized records. The company’s co-founder Neil Kohler commented, “We are immensely proud to partner with the ABKCO team on this first-ever Rolling Stones Tiny Vinyl. When we first conceived of Tiny Vinyl, we never dreamed that we’d release the most iconic hit by the greatest rock and roll band of all time. We can’t wait for fans to find this limited-edition Rolling Stones Tiny Vinyl at Target this holiday season!”
The iconic guitar riff that opens “(I Can’t Get No) Satisfaction” was composed by Keith Richards in the middle of the night on a home tape recorder while the band was on tour in the US. Richards gave insight into writing the riff in his autobiography Life:
“I wrote ‘Satisfaction’ in my sleep. I had no idea I’d written it [...] Thank God for the little Philips cassette player. The miracle being that I looked at the cassette player that morning and knew I’d put a brand-new tape in the previous night, and I saw it was at the end. Then I pushed rewind and there was ‘Satisfaction.’ It was just a rough idea. There was just the bare bones of the song, and it didn’t have that noise of course, because I was on acoustic. And forty minutes of me snoring. But the bare bones is all you need.”
After listening to his own recording and devising the song’s title, he played the riff for Mick Jagger by the pool at the Gulf Motel in Clearwater, FL, in early May, 1965. Jagger immediately composed the lyrics, and the group recorded the song at RCA Studios in Hollywood, CA, on May 12th. It would soon take over the airwaves and shoot up the charts upon release the following month. It became the band’s first US #1 record and stayed at the top of the charts for four weeks. It was also the first release by The Rolling Stones to be Gold-certified by the RIAA.
Textured by the aid of a Gibson Maestro Fuzz-Tone pedal, Richards’ riff was originally intended to be replaced by a horn section, but the recording sounded complete to producer/manager Andrew Loog Oldham and engineer David Hassinger. Jagger’s lyrics, simultaneously expressing sexual frustration and disdain for consumerist messages, would strike a nerve with the mostly young, rock-and-roll-buying public. Ironically, the only two people in The Stones’ camp who were initially against turning “Satisfaction” into a single were its authors – Jagger and Richards.
“The Under Assistant West Coast Promotion Man,” credited to Nanker Phelge (a pseudonym used on compositions written by the entire band), is a lighthearted jab at George Sherlock, an employee of London Records at the time, who accompanied the group on their first US tour. The Stones saw Sherlock as a vainglorious, toupee-topped, seersucker-suited music biz flunky who was ultimately harmless. In later years, Sherlock expressed pride in having been the subject of the song. Loosely based on Buster Brown’s blues standard “Fannie Mae,” it is the lyrical content that gives the tune historic importance; the prodding of authority figures through song was almost unprecedented at the time.
Our FH Buddy Tommy Roe has a new album and Christmas single out.
Check out this recent interview he did with Sean Ross for Ross On Radio …
https://radioinsight.com/blogs/ross-on-radioinsight/321453/tommy-roe-on-bubble-pop-rock/
>>>I dated a woman who was locked in to one scent and, to me, it was awful! "White Shoulders!" But apparently, I was, and am, in the minority because I see it's still available! (Chuck Buell)
Kent,
Of all things to be responding to on a day with lots of music discussions, the comment about "White Shoulders" caught my attention.
All I can say is that was my mother's favorite scent and I am permanently scarred by its scent ... full stop.
Jon in St. Charles
I’m not familiar with this one … “White Shoulders”??? Sounds more like a dandruff shampoo!!! But apparently it was a deal breaker.
Here’s a Forgotten Hits fan favorite … I can’t tell you how many times this topic has popped up over the years! (kk)
This Just In!
Forgotten Hits Undercover Investigator, Chuck Buell, Discovers Hidden Photo of Kent Kotal's Early Rock Band Years!
Further Details If and When They Become Available!
Wait!!! It gets even cooler than this …
The name of my band at the time was Running With Scissors!!! (kk)
More from Chuck …
This time around, Forgotten Hits Music Historian, Chuck Buell, presents this very brief
Forgotten Hits Vintage Super Star Professional Performance Technique!
!!! CB
With the release of The Beatles Anthology 4 yesterday ...
And the upcoming airing of the nine-part Anthology Series on Disney+ (starting November 26th) ...
Harvey Kubernik's interview with John Kosh seemed quite timely!!! (kk)
John Kosh’s 1968-1971 Apple Records World Of John Lennon, Yoko Ono, and the Beatles
By Harvey Kubernik © 2025
With the late November Anthology Collection audio releases, the Beatles Anthology documentary series on Disney+ debuting November 26th, and the re-publication of The Beatles Anthology book, I interviewed award-winning graphic designer, visual artist, documentary producer and director, the London-born John Kosh, who was the creative director of Apple Corps, Ltd. for the Beatles and art director and album cover designer for Abbey Road and Let It Be.The British Post Office (Royal Mail) in 2009 issued commemorative stamps recognizing the Beatles and their LP covers. Two of them were by Kosh: Abbey Road and Let It Be.
Listening to Kosh reminisce about his 1968-1971 Apple Records stint and collaborating with the John Lennon and Yoko Ono, the Beatles and Apple recording artists, is like hearing new unheard first-hand dispatches from the playing field and inside the dugout about the Los Angeles Dodgers baseball teams in the 2024 and 2025 World Series. I met the four Beatles and interviewed three of them over the last half century.
Kosh has been in your record collection for decades. He was involved with the art work and album covers for the Rolling Stones’ Get Yer Ya-Ya’s Out! and Through the Past, Darkly, (Big Hits Vol. 2) He designed Who’s Next, Rod Stewart’s Atlantic Crossing, the logo and cover of the Eagles’ Hotel California and the Impressions’ The Vintage Years.
Over the last half century, Kosh’s work has also graced covers and recorded music packages from Donovan, Carole King, Bob Dyan, the Motels, Aerosmith, the Moody Blues, Humble Pie, Bob Seger, Bonnie Riatt, Marvin Gaye, Electric Light Orchestra, Ike and Tina Turner, and Marc Bolan and T-Rex.
Kosh has received seven Grammy nominations and won three for his work with Linda Ronstadt.
John Kosh first met John Lennon and Yoko Ono in November, 1968, at Room 1, Second West Ward, Queen Charlotte's Hospital, London. He was working at Art & Artists magazine. Kosh bonded with the dynamic duo during his 1968-1971 work at Apple.
In November, 2025, I conducted a Zoom interview with Los Angeles-based John Kosh.
Q: You were at Yoko Ono’s exhibition called Cut Piece in September, 1966, at Africa Centre in Covent Garden 12 and for Yoko’s exhibit Unfinished Paintings and Objects November, 1966. This is where John Lennon met Yoko Ono. You attended John Lennon’s art show You Are Here, Jul,y 1968, at Robert Fraser Gallery. You then get a phone call from John Lennon, thinking it’s a prank. He asks you to meet him at Queen Charlotte’s Hospital.
A: In November, 1968, one evening I am at home, the phone rang, “This is Mr. Lennon. Can I speak to Mr. Kosh.” “Yes.” I didn’t think it was him because I was dealing with a lot of avant garde artists my age. And they were crazy people. Fake Liverpool accents. The whole thing. And then he said he really needed to talk about a project, could I come and visit him. No mention of Yoko yet. They were at the Queen Charlotte’s Hospital in Hammersmith, London [on November 21, 1968]. I thought “This is a very funny venue.” I didn’t know she had suffered a miscarriage. It was pissing rain outside and he asked if I could come immediately.
So, I got into my Corvette and off I went. I got to the hospital and was asked to ask for a Mr. Winston. When I asked for Mr. Winston, I was shown an elevator and pressed the button to the second or third floor, the door opened and fuck, there was John Lennon. He said in his Scouse accent, “Come on in. Let’s have a cup of tea.” There was Yoko in bed with John.
He brought me in because he liked what I was doing for Art & Artists magazine, my minimal style, which was to get a message across for Christmas, War is Over if you want it. I decided it had to be very stark and having done research, I found a placard with the word Japan Surrendered. I presented it. Yoko and I would talk conceptual things. Ritchie Yorke suggested we do a poster campaign. And that is how it evolved. Ritchie knew it would be plastered all over the world.
My first impression of John was that I thought he was much taller in photographs. It wasn’t apparent until much later how this was all evolving. Yes, he was shedding his skin of the Beatles, and don’t forget, he was on a micro biotic diet and thin as a rail. And Yoko trying not to miscarry. So, the whole scene in there was really strange and I had to lift the mood up. And John has a fine sense of humor, a caustic and wicked sense of humor. And “Go find myself a desk at Apple.” The atmosphere in there was joyous and hard work.
Derek Taylor, A lovely man. An exceptional writer. A great publicist with artist promotions. He started out with The Daily Express. Can you imagine editorial taking his work these days?
He referred to all the big record labels at the time, like EMI as “burly conglomerates.” And Decca/London. Now I’m thinking, ‘Yeah, he’s right!” He was charming, and what is more, insistent. He would be charming and you would absolutely agree with him. “Yes, you are right. We will do it.”
At this point, Peter Brown was trying to be the manager, and Ron Kass had been brought in to head Apple in 1968. I was actually working for Joan Collins, who he was married to. It’s all tied up together.
I started out on the ground floor in Kass’ old office until Lennon asked me to move because he wanted the office. And the funny thing was when I walked in, there was my old school mate Jack Oliver. In 1967, Jack joined Apple, and worked in their music publishing division and managed Mary Hopkin. Peter Asher was there with James Taylor. Engineers like Ken Scott and Geoff Emerick were around.
Tony Bramwell was always at Apple. He was like the joint head of Apple. A man about town and close with Jack Oliver. Mal Evans was at Apple. He just seemed to be the gentle giant wondering around. He helped me with management when it came to Badfinger. He was always pleasant. Plus, Richard DeLello, who wrote The Longest Cocktail Party.
There was no art studio. I used to do a lot of the design work at night. Derek was very helpful in clearing the path for me. And never in a condescending way, either.
Q: The Abbey Road album was completed on August 20, 1969, and then released September 26, 1969.
A: John walked into Apple with an acetate of Abbey Road from the lathe down in the basement and everything stopped.
I ended up on the second floor with Derek Tayor. One day I was going to do some stationary for Derek pro bono. He said, “Wait for a minute.” And Ringo walked in and then Peter Brown sat down.
John walked in and said, “Listen to this, kids.” He had two acetates of Abbey Road and he put on Side 1 on the turntable. “Come Together.” I could not believe it. And the sound system in Derek’s office was pretty damn good. Speakers the size of refrigerators. By the time I heard “I Want You (She’s So Heavy),” I kind of lost it. We were one of the first civilians to hear Abbey Road.
I don’t want to give the impression we were all stoned at Apple. Sure, you’d share a joint on occasion, but some of the type I am handling is 6 point type. No computers. You had to use a magnifying glass. I had George’s glasses at one point. But it was cut and paste. I still have scars on my thumbs. Everyone in that place was dedicated to turning out, here we go again, “product.”
The whole Abbey Road thing was a rush job. I was working on other projects. And all of a sudden, it was like, “Okay, these are the photographs, we need an album cover!” As far as Abbey Road, Iain Macmillan, the photographer, had six frames from the zebra crossing and they chose the photo at Jack Oliver’s office on the ground floor. It was really a publicity photo. There was only one that seemed to work.
Him and I were really thinking this is not a Beatles cover. Not good enough. Not realizing it would become an icon. We had to go with it because there was no time to change it. Let It Be was on the shelf. I did finish that book.
Abbey Road is in the light box and transparencies Iain and I are going over all of the frames. George Harrison comes over, such a sweet man, and we say “We think this is the best one.” He agreed. “That’s the best one.”
It was very unusual for a Beatle to come to the office before 3 in the afternoon. Then Neil Aspinall came in and said “If George likes it, we like it.” The back cover … There is an empty space with the track listing and a girl is walking by.
Sir Joseph Lockwood, the chairman of Apple Records’ parent company EMI, called me up in the middle of the night at 3:00 am and said “The name of the group isn’t on the front cover. We’re never going to sell any records!” He said “I was ruining the Beatles’ careers!” He was only thinking of where records would be out in the racks and bins.
I was a 23-year-old and my knees and body were trembling. I knew it didn’t need an explanation. I thought, “Here are the four Beatles walking across the street. If you do not know who they are, you have definitely been in a cave somewhere.” There was a lot of publicity about the new album by the Beatles coming out. They were the Fab Four. I went away and wasn’t looking again, and somebody at EMI insisted that the name of the Beatles was on the back cover. I thought that was silly.
I then told George the story about the front cover. George said, “Oh forget it. We're the Beatles.” No more discussion after that.
Apple sent me a 300 pound check for that cover. It was signed by John Lennon and Paul McCartney. What did I do? I had to pay the rent and I cashed it.
The fact that Abbey Road became the icon that it is never occurred to me. Iain and I were thinking this is the weakest cover of the Beatles yet. And it turns out to be the strongest for different reasons. By sheer serendipity it was there. Parodies of the cover happened. I never envisioned this.
Q: What was vibe like at the Apple offices?
A: Being around the Beatles at Apple … Paul would turn up in a bus. The Radha Kirshna temple were supplying food before the kitchen had started. People would arrive around 10 am and then work until 10 at night. And we never missed a deadline. Everything worked like clockwork.
The reason I fitted is that nobody there understood print. I had done 5-6 years at the British Printing Corporation learning about how to prepare art to get it printed, and not cost a fuckin’ fortune to repair if it was wrong in the middle. All of a sudden, I made myself, appointed myself, the creative director. So, anything that got printed would come to me. And anything designed for print would come to me.
A lot of ska, bluebeat and reggae music was played in the office. Different floors at Apple had different types of music. It depended where you were.
Paul was still doing his cute stuff. Everyone had names in there. Paulie, Ritchie, Lenny and Georgie. When I first walked in, Beatles showing up was a rare event, you know. John was always there, I guess, because he was with Yoko at the end office. Ringo was out a lot making movies like Magic Christian. George was rather involved with The Radha Krsna Temple. He’d actually come up to you and say “Hey Koshy. Hare Krishna.” And then he started calling me Johnny.
Q: You were invited to attend the recording session of “The Ballad of John and Yoko.”
A: At Abbey Road. Studio 2 or B, and it’s the one where Ringo’s drum set was permanently set up. There was a grand piano. I walked in and [engineer] Geoff Emerick was on the board. It’s the first stereo single in the UK. Sitting on the rostrum behind Ringo’s kit was Paul with brushes. Sitting in front of him was John with his 12-string. Not really playing it, just messing with it. And under the grand piano is Yoko Ono. And what is going on is that John and Paul are not supposed to be speaking with each other, you know. There is a whole rift that has torn them apart. There is the John Eastman camp with Paul, and the Klein camp with John. They are not supposed to be communicating, and the press have been told they are hating each other. And here are these guys right in front of me having a lot of fun. They are enjoying themselves and are funny. I walk in and they take the piss out of me, right. “You’re late!”
It was my first trip into Abbey Road. George and Ringo are not on the session. George was out of the country and Ringo was filming The Magic Christian. John did the lead vocal, lead guitar and acoustic guitar and percussion. Paul is on bass, drums, piano, percussion [maracas] and sings vocal harmony. It’s a song about the wedding of John and Yoko in March, 1969. I show the single sleeve art to them. “Fine. Great. Fuck off. We’re working.” And I walked out. And I thought this is nothing like the press have reported. And I said to Derek, “What happened?” “Let’s keep it quiet. Shut up.” (laughs).
Q: “The Ballad of John and Yoko” by The Beatles was issued as a single on May 30, 1969. It chronicles the events of their wedding and honeymoon. This was followed by the “Give Peace A Chance” single that was released July 4, 1969, both designed by you.
A: John realized I was doing something dramatic with War is Over and trying to make things very legible. George walked in and saw the 32 page sheet on the floor of Let It Be and initially couldn’t get the concept they would be folded and cut into a book. But he was interested. John would say “You know what you are doing.” I had a really good relationship with him.
This is a retail world where picture sleeves are involved. There was a lot of work being done. Badfinger, Mary Hopkins, Billy Preston, and MJQ. I didn’t actually do that cover. I just rescued it.
They didn’t know how to send it to the printer. I had a 1 to 1 communication with the Apple principals and the Beatles.
It’s a different world now with middle management. And I’ll tell you something else which is shocking: I never signed a contract in my life. The merger of the text and visual. We were commercial artists, let’s face it, to use the dirty word. It has been elevated to an art form. The whole point is readability, legibility and whatever else. And my theory is if you are going to design an album cover, poster on the side of a bus, you are gonna get the message. If you don’t get the message, you failed. So, you integrate. At Apple I was multi-tasking but it was easy. (laughs).
Q: The rooftop concert on January 30, 1969, at Apple Corps headquarters. You begin work on the Get Back book and cover with Ethan Russell’s photos from a January, 1969 shoot. On May 8, 1970, the Let it Be final Beatles album and documentary film, directed by Michael Lindsay-Hogg, are released and you designed the movie poster.
A: I wasn’t on salary and had no benefits. I billed as I went along. Which is why I managed to end up on the roof, ‘cause staff were not allowed to end up on the roof for it. ‘Cause I was actually ferrying messages from down in the basement to Kevin Harrington [Beatles equipment manager], who was holding up the lyrics.
Q: You had some real reservations about the 1970 movie.
A: Let It Be is totally wrong. It was very light, not dark. Everyone was working hard, having a lot of fun admittedly. To tell you the truth I was appalled when I saw the premiere. It was grim and I left the screening early. ‘Cause I thought this is not how I remember the whole experience. I never saw the bickering. I never saw the moodiness in my bubble. And even though I knew the Beatles were breaking up it was pretty obvious, even so, this is a really successful record company.
Look at the list of hits and records that came out. They were on a roll. The atmosphere that was portrayed in the movie was down and nothing like what I remember. Even downstairs in the studio. How could the environment be so down with Billy Preston there? Billy was wonderful, always jumping up and down all the time, running up and down the stairs. And so, when I first saw Let It Be I was very disappointed.
With the Disney The Beatles: Get Back three-part documentary series I felt vindicated in some respects. “That’s how I remember it!” Now with hindsight. So, I actually waited for it and was thrilled to hear John mention my name in it. I thought something was missing in Let It Be. And in this one they fulfilled it. Why it had to take so long I don’t know.
Today, the bands became brands. Merchandise was coming in in the sixties. But what is getting on my nerves is now we’re re-mixing and re-mastering. It is not the way we initially heard them and loved them.
Q: You relocated to California in 1973.
A: I owe a lot to Peter Asher. When I first came to the States, to California, I couldn’t break into the click. I was the new kid in town. Peter said “Do Linda Ronstadt,” and then he said to [Irving] Azoff, “Give him the Eagles for Hotel California.”
John Kosh currently lives and works in Los Angeles with partner, wardrobe stylist and writer, Genevieve Schorr. He has one son, John Kosh, Jr. (born in London) in 1971.
