John Lennon bought a 1964 Mulliner Park WardPhantom V, finished in [Valentine Black]. Everything was black except for the radiator, even the wheels. Lennon asked for the radiator to be black as well but, Rolls-Royce refused. Originally, the car was customised from Park Ward with black leather upholstery, cocktail cabinet with fine-wood trim, writing table, reading lamps, a seven-piece his-and-hers black-hide luggage set and a Perdio portable television. A refrigeration system was put in the boot and it was one of the first cars in England to have tinted windows. In December 1965, Lennon made a seven-page list of changes […].
“You swine! How dare you do that to a Rolls-Royce!”…so screamed an outraged Englishwoman as John Lennon’s Phantom V cruised past on London’s posh Piccadilly promenade in the Summer of 1967. The ornately decorated limousine, sprayed an electric yellow and bedecked with colorful floral tendrils, Romany scrolls and, zodiac symbols like a hallucinatory gypsy caravan, so offended her sensibilities that she briefly attacked it with an umbrella…or, at least, that’s the way Lennon always told the story.
Much as the length of the Beatles’ mop-tops had done, Lennon’s choice to express himself through his automobile triggered a generational clash, enraging those who felt the tripped-out paintjob had subverted a British icon.
In the 50 years since it outraged the Establishment, Lennon’s Rolls-Royce Phantom V is now embraced as a masterpiece of design and a jewel of the Swinging Sixties.
For all of the paperwork accumulated during the car’s construction, the total price of the vehicle is not recorded. [With] publicity at a premium and Lennon being one of the most famous people on the planet, odds are good that he received some sort of Beatle discount. Ironic considering the significant expenditure, Lennon was unable to drive when he first ordered the Phantom V. He wouldn’t pass his “L-Test” until February 15th, 1965 at age 24, becoming the last Beatle to do so. That same day, the Beatles began work on a new song, Ticket to Ride, a prophetic title considering the number of citations Lennon eventually racked up during his road hours. By all accounts, including his own, he was a horrendous driver, far too myopic to read signs, too distracted to recall routes and too impractical to troubleshoot even the simplest mechanical issue.
Exactly how Lennon decided on the lurid Romany floral/zodiac hybrid is subject to some debate. [Les] Anthony recalls Ringo Starr planting the seed of the idea during a drive in early 1967. However, others say the idea was suggested by Marijke Koger, of the Dutch design collective The Fool, who would also paint Lennon’s piano that summer, after Lennon commissioned a refurbished 1874 gypsy caravan as a present for his young son, Julian.
After spraying the body of the car yellow, local artist Steve Weaver was tasked with painting the red, orange, green & blue art nouveau swirls, floral side panels and Lennon’s astrological symbol, Libra, on the roof. On May 24th, Weaver submitted an invoice for 290 pounds and, the following day [May 25], the car was ready for pickup.
“John Lennon chose an automotive piece as his canvas, using all the symbols of wealth and other messages that go along with the Rolls-Royces of that period. He was certainly getting fed up with conforming at that time. It was a classic artistic statement.”
Reactions were mixed, depending on which side of the generation gap you happened to stand. The Daily Mail reported that the shrieking yellow vehicle elicited jeers from the assembled crowd and Beatles Book Monthly [July 1967] claimed that a local traffic official feared the loud colors would be a dangerous distraction to drivers on the road. Delivered days before the Sgt. Pepper’s Lonely Hearts Club Band was issued, its official maiden voyage took place on May 28th, leading a fleet of friends to Epstein’s new country home for a combined album release party and housewarming.
Of all the songs we released as singles, that was my favorite. The song, first of all, had a classical base and the middle had a gospel section, which I loved.
We were doing an album at the time and, usually, we try and be collaborative when we write the songs because, we had made an agreement that we would share the publishing on all of our songs so that specific writers don’t get the credit. But, that was a song that I came up with. We put it on a bummer album like Oops! Wrong Planet thinking, maybe, we need to put something a little hopeful on it.
The song still has meaning to me. I perform it every night with Ringo. Ringo has his “three hit rule” and I’m taking advantage of a technicality in that Love Is The Answer was a hit but, it wasn’t a hit for me or Utopia. It was a hit for England Dan & John Ford Coley.
Originally, Ringo wanted me to do Hello It’s Me and I just felt that the song, in the context of what the rest of the band was playing, didn’t represent the message I wanted to convey because, “Hello It’s Me” is a kind of a selfish song. It’s me, me, me…it’s all about me. I’m in charge and, all this other stuff. I thought a better song, especially for Mr. Peace & Love, Ringo himself, would be “Love Is The Answer” and, people would know the song because it was a hit. […] they, maybe even, would just gloss over the fact that it wasn’t a hit for me and think, ‘Oh Yeah! Now, I remember him singing this song.’ So, for me, it’s a high point of the evening and, hopefully, the audience is getting the message.