JOHN LENNON MIND GAMES (The Ultimate Collection) - Preorder now at [ Ссылка ]
John: Bring On The Lucie. Oh, what does it mean? What the hell does it mean? I keep asking myself but how the hell should I know? It’s like ‘Rainy Day Woman Number 1009’. What the hell does that mean? It’s just something that came into me head. ‘Lucie’ is just one of those things after ‘Lucy in the Sky’. ‘Lucy’ keeps staying in me head. I like to cross‑reference myself. I enjoy it. They have been around for a long time. I just never put them on paper. It’s in the Bible isn’t it? The Great Beast 666 rising out of his underpants and all that. The reason it actually cropped up is because I had all me books sent from England and I had a few by Aleister Crowley that I had had for years and one of them is this little Book of Lies which is beautiful poetry. He was just in my consciousness. I really write from whatever I’m doing at the time. If I were to write a song tonight it might be about wine and photographs. It’s just that simple.
From the book MIND GAMES - in the words of John Lennon & Yoko Ono and the people who were there - available to preorder from Thames and Hudson at [ Ссылка ]
Source: John Lennon interview with Patrick Snyder-Scumpy, March 1974.
For more Meditation Affirmations from John & Yoko, join us on the hour every hour at [ Ссылка ]
BRING ON THE LUCIE (FREDA PEEPLE) (Elements Mix)
Rick Marotta: bongos
Gordon Edwards: bass
Something Different (Christine Wiltshire, Jocelyn Brown, Kathy Mull, Angel Coakley): background chorus
Written and Produced by John Lennon © Lenono Music
Recording Engineers (1973): Roy Cicala, Dan Barbiero
Assistant Engineers (1973): Dennis Ferrante, Richie Apuzzo, Ed Sprigg, Kevin Herron, Jimmy Iovine
Executive Producer (2024): Yoko Ono Lennon
Producer, Creative Director (2024): Sean Ono Lennon
Compilation Producer, Production Manager (2024): Simon Hilton
Mixed & Engineered by (2024): Sam Gannon
Stereo Mastering Engineer (2024): Alex Wharton at Abbey Road Studios.
ABOUT THE ELEMENTS MIXES
The Elements Mixes reduce the songs to the minimum amount of instruments possible. At most, only three instruments are heard at any time. With the focus taken away from John’s vocal, the delicacy and nuance of these performances is allowed to shine through.
Instrumental selections were made on a song-by-song basis – which instruments and performances should be highlighted and what other instruments would they work well together with to maintain an engaging listening experience with such a sparse arrangement.
These buried elements have now been opened up and are presented on a wider and brighter sound stage – to reveal deeper levels of detail and clarity, especially in the 5.1 Surround Sound and Dolby Atmos/Spatial Audio versions.
There were no set rules for any of the selections. It was just per song – what did we feel would be nice to isolate or show off, that might have escaped people’s initial listening experience.
Hopefully, after listening to these minimalist yet powerful Elements Mixes, when you return to listening to the Ultimate Mixes, you will begin to hear those details previously hidden in the album versions in a completely new way.
