Written by: Lennon
Recorded: July-August 1974
Producer: John Lennon
Released: 4 October 1974 (UK), 26 September 1974 (US)
John Lennon: vocals, acoustic guitar
Nicky Hopkins: electric piano
Jesse Ed Davis: electric guitar
Eddie Mottau: acoustic guitar
Ken Ascher: clavinet
Klaus Voormann: bass guitar
Arthur Jenkins: percussion
Jim Keltner: drums
Bobby Keys: saxophone
May Pang, Lori Burton, Joey Dambra: backing vocals
The second single to be released from Walls And Bridges, #9 Dream featured John Lennon’s lover May Pang and continued his fascination with the number nine.
That’s what I call craftsmanship writing, meaning, you know, I just churned that out. I’m not putting it down, it’s just what it is, but I just sat down and wrote it, you know, with no real inspiration, based on a dream I’d had.
In the early summer of 1974 Lennon recorded a series of home demos of songs, some of which ended up on Walls And Bridges. One of these was titled So Long and, although an unfinished fragment, it later became the basis for #9 Dream.
That was a bit of a throwaway. It was based on some dream I had.
All We Are Saying, David Sheff
At the time Lennon was producing Harry Nilsson’s album Pussy Cats, and the melody of So Long was based on the string arrangement he had written for Nilsson’s cover version of Jimmy Cliff’s Many Rivers To Cross.
Lennon recorded a second demo on an acoustic guitar. The lyrics had begun to feature dream imagery, but the chorus was yet to come. Around this time he also toyed with using the title Walls And Bridges for it.
This was one of John’s favorite songs, because it literally came to him in a dream. He woke up and wrote down those words along with the melody. He had no idea what it meant, but he thought it sounded beautiful. John arranged the strings in such a way that the song really does sound like a dream. It was the last song written for the album, and went thru a couple of title changes: So Long Ago, and Walls & Bridges.
The album Walls And Bridges was recorded in July and August 1974. By that time Lennon had settled on the title #9 Dream, and had a chorus refrain – Ah! böwakawa poussé, poussé – which he claimed had come to him in a dream.
The words had no meaning, but summed up the ethereal atmosphere Lennon conjured up in the lyrics and production. Coincidentally, the phrase had nine syllables.
The words of the chorus were changed slightly by Lori Burton, the wife of studio engineer Roy Cicala, who also sang backing vocals on the song.
Al Coury, the promotion man for Capitol, said, ‘They’re not going to play this record.’ When John asked Al, ‘Why?’ he was told, ‘Because you’re saying ‘pussy’ on it!’ So, Lori changed it to ‘Ah! böwakawa poussé, poussé,’ kinda like French, and it worked. John listened to us. In fact, he listened to just about everything. He never used to come to the mix sessions until we called him. After all, there was no automation, so why have a breakdown over it? Just come in when you’re ready and then tweak it a little bit.
Sound On Sound
The lyrics featured “two spirits dancing so strange” calling his name. In the studio May Pang whispered “John” in response to the line “Somebody call out my name”. The snippet was reversed and reused in the second verse, following the words “Music touching my soul”.
In the studio, Roy Cicala announced “take nine” before every attempt to record the song. After the basic track had been recorded, a string arrangement by Ken Ascher was added, as were backing vocals by ‘The 44th Street Fairies’: Lennon, Pang, Lori Burton and Joey Dambra.
Lennon produced Walls And Bridges himself. Of its songs, #9 Dream was the one which was most heavily produced; normally Lennon was happy to complete songs quickly and move on.
On #9 Dream, that’s an incredible vocal sound. There’s a lot of very interesting things done to that vocal sound to make it sound like that. There was so much echo on his voice in the mix, and doubling and tape delay.
Overdub engineer, Walls And Bridges
The single was issued on 31 January 1975. In the United Kingdom it had the catalogue number Apple R 6003. It charted on 8 February, peaked at number 23, and spent a total of eight weeks on the charts.
In the United States it fared better, fittingly peaking at number nine on the Billboard Hot 100 on 22 February 1975