{"id":43269,"date":"2019-07-01T14:55:15","date_gmt":"2019-07-01T14:55:15","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=43269"},"modified":"2021-04-23T12:14:07","modified_gmt":"2021-04-23T17:14:07","slug":"john-lennons-how-do-you-sleep-inside-the-song-w-jack-douglas","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/john-lennons-how-do-you-sleep-inside-the-song-w-jack-douglas\/","title":{"rendered":"John Lennon&#8217;s &#8220;How Do You Sleep?&#8221;: Inside the Song w\/ Jack Douglas"},"content":{"rendered":"<div class=\"produ-leaderboard-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\" id=\"produ-3801345291\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-2565752850436-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-2565752850436-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-2565752850436-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-2565752850436-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-2565752850436-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div><p>This week we\u2019re back again with a very dear friend and mentor, Mr. Jack Douglas!<\/p>\n<p>Jack and I have spent countless hours working together over the years\u2014even as much as 9 months at a time while we were doing an Aerosmith project. We even spent 3 months living in the same apartment!<\/p>\n<p>This time, we&#8217;re talking about his work as an engineer on John Lennon&#8217;s 1971 album\u00a0<em>Imagine\u00a0<\/em>and the song &#8220;How Do You Sleep?&#8221; We even got to take a look at the<strong> original track sheets from the session<\/strong>!<\/p>\n<h5>Jack Douglas started as a folk musician and songwriter.<\/h5>\n<p>He then travelled to England playing in different bands before coming back to New York to attend the Institute of Audio Research. He was a member of the first graduating class!<\/p>\n<p>His first professional gig was as a janitor at the Record Plant in New York. He worked his way up to the desk as an engineer and participated in projects by Miles Davis, The James Gang, and Alice Cooper, amongst others.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-43272 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover.jpg\" alt=\"\" width=\"300\" height=\"300\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover.jpg 300w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-100x100.jpg 100w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-150x150.jpg 150w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-75x75.jpg 75w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-270x270.jpg 270w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-225x225.jpg 225w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-170x170.jpg 170w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-40x40.jpg 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-18x18.jpg 18w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-160x160.jpg 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-16x16.jpg 16w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-14x14.jpg 14w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-10x10.jpg 10w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-20x20.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/ImagineCover-9x9.jpg 9w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/p>\n<p>He then had the opportunity to engineer <strong>John Lennon\u2019s\u00a0<i>Imagine<\/i><\/strong> <sup id=\"cite_ref-1\" class=\"reference\"><\/sup>album in 1971. Jack and Lennon got along very well, working together for the rest of Lennon\u2019s life.<\/p>\n<p>Jack would become a Record Plant staff engineer where he worked with even more incredible artists like Patti Smith, Blue \u00d6yster Cult, the New York Dolls,\u00a0Starz,\u00a0and of course,\u00a0Aerosmith. He even got Cheap Trick signed to their very first record deal!\u00a0<sup id=\"cite_ref-2\" class=\"reference\"><\/sup><\/p>\n<p><strong>The foundation of &#8220;How Do You Sleep?&#8221; was recorded at Lennon&#8217;s own Ascot Sound Studios.<\/strong><\/p>\n<p>By the time the song was finally released, it would&#8217;ve gone through three different generations of tape. It was taken from the original 8-track recorded at Ascot to a 16-track, from 16 back to 8, and finally from 8 down to the final 2-track.<\/p>\n<figure id=\"attachment_43273\" aria-describedby=\"caption-attachment-43273\" style=\"width: 640px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-43273 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971.jpg\" alt=\"\" width=\"640\" height=\"800\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971.jpg 640w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-600x750.jpg 600w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-60x75.jpg 60w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-216x270.jpg 216w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-180x225.jpg 180w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-136x170.jpg 136w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-320x400.jpg 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-120x150.jpg 120w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-280x350.jpg 280w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-40x50.jpg 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-14x18.jpg 14w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-160x200.jpg 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-432x540.jpg 432w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-13x16.jpg 13w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-485x606.jpg 485w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-11x14.jpg 11w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-272x340.jpg 272w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-8x10.jpg 8w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-20x25.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-240x300.jpg 240w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-7x9.jpg 7w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-560x700.jpg 560w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-17x21.jpg 17w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/John_Lennon_Imagine_1971-385x481.jpg 385w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption id=\"caption-attachment-43273\" class=\"wp-caption-text\">A Billboard ad for the album.<\/figcaption><\/figure>\n<p>Usually there&#8217;d be quite a bit of quality lost between all these transfers, but Record Plant staff engineer <strong>Roy Cicala,\u00a0<\/strong>who was a mentor of sorts to both Jack and Shelly Yakus,\u00a0would run a Pultec EQ on the sync head to make up for any degradation which might occur.<\/p>\n<p>On the other hand, Lennon was used to doing Beatles records on only 4 tracks! There was plenty of bouncing things down and making tape transfers, so he wasn&#8217;t concerned about quality on\u00a0<em>Imagine.\u00a0<\/em><\/p>\n<p><strong>A host of amazing musicians of the era played on &#8220;How Do You Sleep?&#8221;<\/strong><\/p>\n<p>Wurlitzer piano was handled by Nicky Hopkins, who played with some of the greatest British and American bands of the &#8217;60s through the &#8217;90s, including The Rolling Stones, The Kinks, The Who, The Beatles, Cat Stevens, and Jefferson Airplane to name a few. He credits are extensive, though he unfortunately passed in 1994 at age 50.<\/p>\n<p>Klaus Voormann played bass on the song and the entire album. Voormann met them when The Beatles spent time in Hamburg and eventually moved in with Ringo Starr and George Harrison in London. He&#8217;s well known for designing the cover art on\u00a0<em>Revolver<\/em>.<\/p>\n<p><strong>String overdubs were handled by Jack Douglas, Roy Cicala, and Shelly Yakus at Record Plant Studio A.\u00a0<\/strong><\/p>\n<figure id=\"attachment_43271\" aria-describedby=\"caption-attachment-43271\" style=\"width: 700px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-43271 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" data-src=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa.jpg\" alt=\"\" width=\"700\" height=\"529\" data-sizes=\"auto\" data-srcset=\"https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa.jpg 700w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-600x453.jpg 600w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-80x60.jpg 80w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-320x242.jpg 320w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-298x225.jpg 298w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-225x170.jpg 225w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-198x150.jpg 198w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-40x30.jpg 40w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-160x121.jpg 160w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-20x15.jpg 20w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-640x484.jpg 640w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-558x422.jpg 558w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-450x340.jpg 450w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-13x10.jpg 13w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-397x300.jpg 397w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-12x9.jpg 12w, https:\/\/producelikeapro.com\/blog\/wp-content\/uploads\/2019\/06\/johnharryrecordplantnewyork-aa-385x291.jpg 385w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption id=\"caption-attachment-43271\" class=\"wp-caption-text\">Roy Cicala and John Lennon working together on a later Record Plant session in 1974.<\/figcaption><\/figure>\n<p>Studio A at Record Plant was a notoriously dead room. Jack and the other engineers at the studio would have to come in and put plywood on the walls to liven things up!<\/p>\n<p>The string overdubs were recorded there by the phenomenal Record Plant team. &#8220;How Do You Sleep?&#8221; actually begins with recordings of the string section warming up.<\/p>\n<p>SEE ALSO:<br \/>\n<a href=\"https:\/\/producelikeapro.com\/blog\/how-to-mix-vocals-like-a-pro\/\">How To Mix Vocals Like A Pro<\/a><br \/>\n<a href=\"https:\/\/producelikeapro.com\/blog\/home-studio-on-a-budget\/\">Home Studio On A Budget<\/a><\/p>\n<p>Many of the instruments on\u00a0<em>Imagine\u00a0<\/em>were actually re-recorded at Record Plant. Amongst the tracks finished there are &#8220;It&#8217;s So Hard&#8221; and &#8220;I Don&#8217;t Want to Be a Soldier,&#8221; in addition to &#8220;How Do You Sleep?&#8221;<\/p>\n<p><strong>The lyrics for &#8220;How Do You Sleep?&#8221; are noted for being aimed at Paul McCartney, whose relationship with Lennon was strained at the time.<\/strong><\/p>\n<p>Jack mentions that Lennon loved McCartney like a brother and could poke fun at him when he wanted without any hard feelings, despite what fans and listeners might have interpreted as genuine disdain. The suspected feud was clarified by Lennon in a later interview:<\/p>\n<p>&#8220;There&#8217;s really no feud between me and Paul. It&#8217;s all good, clean fun. No doubt there will be an answer to &#8216;Sleep&#8217; on his next album, but I don&#8217;t feel that way about him at all. It works as a complete song with no relation to Paul. It works as a piece of music.<\/p>\n<p>I started writing it in 1969, and the line, &#8216;So Sergeant Pepper took you by surprise&#8217; was written about two years before anything happened. There was always a musical difference between me and Paul \u2013 it didn&#8217;t just happen last year. But we&#8217;ve always had a lot in common, and we still do.<\/p>\n<p>The thing that made The Beatles what they were was the fact that I could do my rock &#8216;n roll, and Paul could do the pretty stuff&#8230;But hardly a week goes by when I don&#8217;t see, and\/or hear from one of them.&#8221;<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/i_fqkpSFW74\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 We&#8217;re big, we&#8217;re bad, and we&#8217;re back with Mr. Jack Douglas. How are you?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I&#8217;m good. Good to see you again.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Good to see you again. This one&#8217;s a very-<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It&#8217;s been minutes.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It&#8217;s been minutes. Absolutely minutes. And if you&#8217;re watching it concurrently, maybe even seconds.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 This one&#8217;s a really exciting one because we have a track sheet. I mean, that&#8217;s a huge deal.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah, quite.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And it&#8217;s \u2018How Do You Sleep.\u2019<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 This stuff came to us as eight tracks. I transferred it from 8-track to 16-track. Then we mixed it. Then we transferred it from 2-track to 8-track again, back to 8-track.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And did our string overdubs on the 8-track. So it went to 8-track, 16-track, 8-track, 2-track.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 That&#8217;s quite a few iterations.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. But you know what? No one&#8230; well, first of all, when Roy would do a transfer\u2026<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 This is Roy Cicala.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. Roy Cicala. When he would do a transfer, he would put a Pultec on the sync head so that he was making up for anything that was going on in the sync head as it was going over. So he would pretty much, you wouldn&#8217;t know that it had bounced around, and John was like, &#8220;Oh, only three generations. No problem. You know, we&#8217;re used to six.&#8221; So it was never a problem to do that. It just never lost anything.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Maybe it added something, I think, the loss. But two&#8230; it was 8 to 16, 16 to 8. No. Yeah, 8 to 16, 16&#8230; I think we went right to this 8-track.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 8-track.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In the mix.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. So this is the Record Plant.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. The Record Plant in New York. And if you look up here, which you&#8217;ll see later, you&#8217;ll see the producer was a guy named P. Spector.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 P. Spector.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. This is my handwriting. No one seemed to mind. Artists, John Lennon. Client, Apple Records. Master take four, and Mmaster take three. And the names are Cicala, Yakus, and there wasn&#8217;t room for me to put Douglas, so I just put J.D.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 If we go back one, here&#8217;s a tape box with the final takes. And this is the 8-track. You&#8217;d see here complete takes one, two, three, and then four would be a complete take and a playback. PB means playback. And then I would put M for master, and then HTL meant Head and Tail Lead.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And this is the same thing. \u2018How Do You Sleep\u2019 only took three. Now we&#8217;re talking about the strings going on over the third take of the strings.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 How were the strings being monitored? Do they have the speakers in the room?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 No, no. They-<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 They aren&#8217;t on headphones?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 No, no. They had, the conductor had one small speaker.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yep.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And the first chair to each section had headphones.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Okay.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 That&#8217;s all it took.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 So the first chair is the only one on headphones, and the other guys and girls are playing along?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yes.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 They&#8217;re just playing-<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 With the conductor.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The conductor. Okay.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. Who&#8217;s pretty much conducting to the first chair.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Amazing.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. You want to hear some of this? It&#8217;s kind of interesting.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Hell yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I mean the thing is, this is Studio A at Record Plant.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Did Shelly just text you?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 No.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 That would have been funny.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. Studio A at Record Plant, and it was a dead room.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And what we used to do is we used to put plywood on the walls, just come in and put plywood everywhere.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Because it was too dead.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It was too dead, to liven the room up. No Decca Trees. You know, we&#8217;d go over each in the sections.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 So this, on these stems, this is called \u2018Song.\u2019<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 That&#8217;s how it starts. That&#8217;s them warming up.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nicky Hopkins.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Oh.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Hear the cellos and the basses? Isn&#8217;t that great?<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Whose arrangement?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I can&#8217;t remember. His name was like Zorro, or something. I didn&#8217;t know at all. And I never saw him again.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Let&#8217;s find out.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Until \u2018Happy Christmas.\u2019<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It&#8217;s funny, I don&#8217;t know how they got paid.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Interesting, though.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 That&#8217;s two tape delays on his&#8230;<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On his vocal?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On his vocal, yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 We had to build a tape machine for him, for the tape delay, TC, or ATD, or whatever it was. Automatic Track Doubling.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 He asked for that, and we all looked at each other like, \u2018oh shit.\u2019 What&#8217;s that? So we asked him to explain it. He just said, it just sounds like there&#8217;s somebody else singing with me.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Beautiful strings.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Biggest string section.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Whoever did it, though, it&#8217;s very Beatle-y.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 They obviously knew what they were doing.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A lot of violas. Heavy on the violas in there too. It&#8217;s too bad you can&#8217;t&#8230;<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Solo the strings out.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Solo, and solo the echo, which was known for its tuned chambers.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 So let&#8217;s talk about this delay on this vocal. He said, do you have ATD, and we all scratched our heads and didn&#8217;t want to act like fools. And of course, Roy said, &#8220;We can get it.&#8221;<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You know, there was no digital delay at that time. So Roy goes to maintenance, and says, &#8220;What do we do?&#8221; And so they built us a machine. They took a 4-track that could run at 30 IPS. And they put a cap stand doubler, a fat cap stand. So now it was running at 60 IPS. We had to get transcription reels because the thing would run so fast.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 So you put a VFO on it, a variable speed, a VSO. A Variable Speed Oscillator. We called it a VFO, Variable Frequency Oscillator. You put that on the motor and then you could control how fast you wanted it so that it would be in time.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 So you could take it to 60, and you could take it up then from 60. So once you took it up to 60, you were pretty much doubling it. Then Paul Prestopino who built this monstrosity said, &#8220;If I put two playback heads on this, close together, which he did, put two playback heads on it. So there&#8217;s a record head and two playback heads.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And then if he put this dial on top of it with a rod that pushed the tape between the two heads, now you had flanging instantly.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Wow.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 So you&#8217;re returning, you know, you could return two stereo tracks. It was a 4-track. And you could just do this incredible sound.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 So you had these two heads, and this rod could push the tape backwards and forwards to vary-<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Between the two heads.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I understand. That&#8217;s amazing.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. So it was instant flanging.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You may have already said, I&#8217;m sorry. Which machine? Was it an Ampex?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It was an Ampex, either a 440 or a 300. I think it was a 300 deck, you know, with the baseball bat that you used to go back and forth between forward and rewind to slow it down.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And you would be working with John on something, and Roy might send the echo over to this thing and you would be cranking this big dial back and forth. Anyway-<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In real time.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah, in real time. Yeah. And John just thought that it was like, &#8220;Oh, you have one.&#8221; Oh, you have one. Meanwhile, it was probably, Paul Prestopino probably worked on that thing for 20 hours straight to get that thing to work like that. But it was&#8230;<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And the cap stand was so big. But you had to have these giant tapes on it. And you had to be ready to just, when that thing ran out, God help you if it ran out during a performance. So you would constantly be looking at the thing and sweating. Then you&#8217;d have to send a signal to Roy like stall for just like, you know, 10 seconds while I flip this tape over, run it through the other way. I don&#8217;t know why that vocal is&#8230; What else is on that?<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Well, we have separated drums, by looks of it. Let&#8217;s have a listen.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Now, I think that that&#8217;s&#8230; not Allen on this track.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pretty tight.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah, I think that&#8217;s Jim.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You think that&#8217;s Keltner?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. Because what happened was when we got over to New York, I mean a lot of stuff was recorded in in Tittenhurst in his house really. They converted it. And once you got to New York, and you saw the studio facility and what he could do there, a lot of stuff was redone. And Jim came in and Klaus Voormann. So they started to rerecord stuff. I mean, <em>Imagine<\/em>is a re-record. And that piano is still around.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Oh it is? Who has it?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It&#8217;s in New Jersey in a beautiful big room.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Oh he did?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. And he brought over a bunch of equipment. So before the auction, he just moved a few things out.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Just a couple of things.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. Like the piano. And I had lunch with Jimmy Iovine a few days ago, and he said, &#8220;Jack, remember this?&#8221; And we went into his room, and there was the black Mellotron that John had stored, which was the Mellotron, the double keyboard, big monstrous thing that the Beatles used. And he got it and he brought it over.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And John had a vault at the Record Plant in the basement. It was a sealed, real vault. And in there was, which we would frequently go down and listen to some of the things in there.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I&#8217;m sure.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 He had all the 3-track Shea stadium tapes, and instruments like that Mellotron, which I think Jimmy got at auction. Used to be cool to go down there, put up a Shea stadium tape and listen to the actual performance. You know, it was pretty cool stuff.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Unbelievable. What an incredible live band.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. So basically no monitors.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Just hoping for the best.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. Yeah.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 So is this George?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 John. That&#8217;s John. I think Jesse Ed Davis is on this one too. Yeah.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. So Beatle-y.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 What a great rhythm player.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Unbelievable.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Jesse Ed Davis.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 My hairs are standing on end.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. What a deep groove, huh?<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Is this Voormann? Klaus Voormann on bass?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. Yeah, Klaus was the only bass player on <em>Imagine<\/em>.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I always thought George had played on this song.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I think he did, but I think he played on it in England and not&#8230;<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Not the final version. It&#8217;s so good.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I was so shocked when I was doing the transfer that this song, when I did the first transfer of it, I was like, &#8220;Is he singing about Paul?&#8221;<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I was going to wonder whether we were going to touch on that. I was, I didn&#8217;t want to start that conversation.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Wow. And so that was always a mystery that I never went to with John about that relationship until that video, which I think I showed you once where he starts talking about Paul, where he confesses to the fact that he loved him as a brother, and that he could take the piss out of him any time he wanted to, whether we got it or not is something else. So it sounded like there was just this angry thing. But you know, apparently he enjoyed that. That&#8217;s more English than it is American, that kind of piss taking.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 But yeah, that video is wonderful, where he&#8217;s just&#8230; That&#8217;s the Playboy interview. I did show it to you.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You did. You showed it to me a couple of years ago. Somebody had found the video cassettes.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yes, they had been discarded and were marked-<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Like 1980.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah, were marked TBE, to be erased.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And the reason they were to be erased is because in the video, Yoko is sleeping on a couch.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I remember.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 So she didn&#8217;t want anybody to see her sleeping on a couch while we were working, you know? And so that was the&#8230; Shift or whatever his name was, came in to do the Playboy interview. And he was so petrified at sitting with John.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 At the console.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah, at the console that John actually had to pry, he had to prime him to get the interview started, you know, because the guy was shaking and he was terribly frightened.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It was a big deal. I mean, he&#8217;s back in the studio after not recording for three or four years, which probably felt like an eternity.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 To him, it did.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Certainly and to us too.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And who was filming it again?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bob Gruen.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bob Gruen. Very famous photographer.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah, that was Bob&#8217;s&#8230; it was his birthday. John&#8217;s birthday. The birthday cards are on the console and&#8230;<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 There&#8217;s a reflection in that video of Bob Gruen holding the largest video camera from 1980.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. I know.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Like this. And he&#8217;s holding it like this.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah, and it&#8217;s got a monitor that pops out. It was the first one that a monitor on it. And he gave that to John for his birthday. So he came in, I took it away from him and I took video of Bob Gruen, and then John was doing this interview. So Bob Parks&#8230;<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Wait, this is John&#8217;s birthday?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It&#8217;s John&#8217;s birthday.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In 1980.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. He was 40.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Oh, so it&#8217;s only a few days before he died.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Well, it was sometime. It was October and it&#8217;s a month.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Like a month or so.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah, two. Two months. So it&#8217;s, yeah, his birthday card is on the console. My gift to him was about 40 cassettes of the hidden microphone tapes that he didn&#8217;t know about, but had asked for.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It was kind of a nudge, nudge, wink, wink situation. After the second day of recording<em>Double Fantasy<\/em>, he said to me, &#8220;You know, not always the best things are said out in the studio. Sometimes they&#8217;re said in the control room, or anywhere else. You&#8217;d never know where someone&#8217;s gonna say something that&#8217;s really interesting.&#8221;<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And he was so interested in documenting everything about that went on in the sessions, including the journal that was kept. But to him, the idea of having this audio of everything. So I mean that&#8217;s what he said. And so I hid microphones. I hid microphones everywhere. I mean, they were in the control room, they were in the vocal booth, they were out in the room, they were in the bathroom, they were in maintenance, they were in his little private room that he liked to go in. While I was comping vocals, he would go into this other room and just hang out.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I put a piano in it, and it was very comfortable. It had a couch, and he could just hang out. And so there were again, two mono transcription tape machines in a room that was being fed with all of these. Just everything went into this thing, these machines. And every once in a while the guy would have to go down just to make sure it flipped over. But they ran so slow that basically you got 10 hours out of one reel.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And so for his birthday, his 40th birthday, I can&#8217;t remember how long it takes to transfer all those things, but I had somebody working around the clock to transfer all those tapes to cassettes up to that point since, you know, end of July. And they wheeled them in. And I said, &#8220;Well, you remember what you said about everything being said?&#8221;<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And he just couldn&#8217;t believe it. He started listening to them right away. As soon as he got home, he was like, \u2018this is incredible.\u2019 You know, all the things that are said out there. Because every night, after the session, he sat for an hour or sometimes two in the control room when the actual date was over. And just put his feet up and talked to us about everything. About politics, about the Beatles, about Hamburg, Germany. About being a father now. About everything. He just sat there and talked and passed a pipe with some good grass in it.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And it was, you know, all that stuff was there. And every once in awhile, bits and pieces show up online. They have a name for it. The hidden, the hidden recordings or something. But someday I hope you&#8217;ll be able to get all whatever thousand hours. I mean they talk about content.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 When we went to Record Plant to do <em>Walking on Thin Ice<\/em>, I again bugged the control room, the live room, and recorded right up to the very last day. And the last day tape I destroyed because I just couldn&#8217;t bear it.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I just, you know, when you take a reel of tape, and you take it by the hub and you pick it up and knock it like this and it just all falls off like that. That&#8217;s what I did with that reel of tape.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I also gave him a pair of&#8230; Lee DeCarlo and I went to Harvey music, which was the big hi-fi dealer, and gave him the first pair of wireless headphones. It wasn&#8217;t Bluetooth. It was just a transceiver. And he could plug this thing into the head, into his stereo at the headphone jack. And it would transmit to the headphones. They were Sennheisers. They sounded pretty good. He thought it was like magic. Oh, I can walk around the house and listen to music?<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Wireless headsets, I remember those.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 With the aerial.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah, that&#8217;s right.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pre Bluetooth.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Wow. That was pretty hardcore.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 That was good.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I learned a huge amount.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. You know, what Roy used, and he used one of two mics in a bass drum. I could never get them to work. He had, he would take a surgical hose.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And wrap surgical hose around the tuners of a bass drum.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Okay. And then he would attach the surgical hose to a hub. A steel hub.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A tape hub. And then he had drilled holes in the tape hub, very much like how you stand at Christmas tree up.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Screwed with like three screws. And he would put either a 57 or an EV 666 into that, screw it down. And that&#8217;s how he got his bass drums.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I have no idea how that would work. Sounds like magic.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The mic was suspended.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Oh, I see now.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. The rubber hose would come down.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Oh, I get it now.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 He connected it all, and this mic was suspended.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I see.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 For some reason he had this theory that you didn&#8217;t put a bass drum mic on a mic stand, because the vibrations of the mic stand had nothing to do with the vibrations of the bass drum.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I understand.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 So the bass&#8230;<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You can&#8217;t knock it.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It sounds like an amazing crackpot idea. Yeah. I love it.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Just the look of it.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The look of it sounds incredible.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I mean, I remember having to put these&#8230; you didn&#8217;t use a front head. He covered the front head. You know, he covered the bass drum in a tunnel, like we do very much now, but he had to suspend that mic and his mic choices.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 They&#8217;re great mics, you see, but they don&#8217;t have a whole lot of real bottom, but they have all that 80 and 100 cycle stuff that&#8217;s, which is what you hear.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah. Especially right at the top.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Groove is so good. You think that&#8217;s Keltner?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 There&#8217;s no real low, low bottom there, but you can&#8217;t kill that bass drum. It&#8217;s there, you know.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 What&#8217;s on the toms?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 87s.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 87s?<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 If he had a drummer with two rack toms and a floor, he would just put the 87 in a figure eight, and put it like this over the two toms.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The two racks.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Oh, that&#8217;s amazing.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 That&#8217;s amazing.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It&#8217;s good stuff and it still works.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ah, well, thanks ever so much.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yeah, you&#8217;re welcome.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It&#8217;s phenomenal.<\/p>\n<p>Jack Douglas:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 See you again soon.<\/p>\n<p>Warren Huart:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Let&#8217;s do another one soon. Thanks for watching. Please leave a bunch of comments and questions below.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This week we\u2019re back again with a very dear friend and mentor, Mr. Jack Douglas! Jack and I have spent countless hours working together over the years\u2014even as much as 9 months at a time while we were doing an Aerosmith project. We even spent 3 months living in the same apartment! This time, we&#8217;re&hellip;<\/p>\n","protected":false},"author":3,"featured_media":43290,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[1145,62],"tags":[963,501,1204],"class_list":["post-43269","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-inside-the-song","category-interviews","tag-inside-the-song","tag-jack-douglas","tag-john-lennon"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>John Lennon&#039;s &quot;How Do You Sleep?&quot;: Inside the Song w\/ Jack Douglas<\/title>\n<meta name=\"description\" content=\"We\u2019re talking about Jack Douglas&#039; work as an engineer on John Lennon\u2019s 1971 album Imagine and the song \u201cHow Do You Sleep?\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/producelikeapro.com\/blog\/john-lennons-how-do-you-sleep-inside-the-song-w-jack-douglas\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"John Lennon&#039;s &quot;How Do You Sleep?&quot;: Inside the Song w\/ Jack Douglas\" \/>\n<meta property=\"og:description\" content=\"We\u2019re talking about Jack Douglas&#039; work as an engineer on John Lennon\u2019s 1971 album Imagine and the song \u201cHow Do You Sleep?\u201d\" \/>\n<meta property=\"og:url\" content=\"https:\/\/producelikeapro.com\/blog\/john-lennons-how-do-you-sleep-inside-the-song-w-jack-douglas\/\" \/>\n<meta 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