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"#9 Dream"
The German single sleeve of the song
Single by John Lennon
from the album Walls and Bridges
B-side"What You Got"
Released16 December 1974 (1974-12-16)
RecordedJuly–August 1974
GenreSoft rock
Length4:44
LabelApple
SongwriterJohn Lennon
ProducerJohn Lennon
John Lennon singles chronology
"Whatever Gets You thru the Night"
(1974) 		"#9 Dream"
(1974) 		"Stand by Me"
(1975)
Walls and Bridges track listing
12 tracks
Side one
  1. "Going Down on Love"
  2. "Whatever Gets You thru the Night"
  3. "Old Dirt Road"
  4. "What You Got"
  5. "Bless You"
  6. "Scared"
Side two
  2. "#9 Dream"
  3. "Surprise, Surprise (Sweet Bird of Paradox)"
  4. "Steel and Glass"
  5. "Beef Jerky"
  6. "Nobody Loves You (When You're Down and Out)"
  7. "Ya Ya"
Official video
"#9 Dream" on YouTube
"#9 Dream"
Single by R.E.M.
from the album Instant Karma: The Amnesty International Campaign to Save Darfur
ReleasedMay 2007 (2007-05)
GenreAlternative rock
Length4:39
LabelWarner Bros.
SongwriterJohn Lennon
R.E.M. singles chronology
"Wanderlust"
(2005) 		"#9 Dream"
(2007) 		"Supernatural Superserious"
(2008)

"#9 Dream" is a song written by John Lennon and first issued on his 1974 album Walls and Bridges. It was released as the second single from that album months later, on Apple Records catalogue Apple 1878 in the United States and Apple R6003 in the United Kingdom. It peaked at number 9 on the Billboard Hot 100, and it hit number 23 on the British singles chart. A video for the song was made in 2003.[1]

Background

[edit]

"#9 Dream" came to Lennon in a dream. Lennon has said that the song was just "churned out" with "no inspiration".[2]

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.

— John Lennon, 1980[2]

According to May Pang's website, two working titles for the song were "So Long Ago" and "Walls & Bridges". Pang also states that the phrase repeated in the chorus, "Ah! böwakawa poussé, poussé", came to Lennon in a dream and has no specific meaning.[3] Pang added that Al Coury of Capitol Records initially protested against the use of the word "pussy" in the chorus, but after Lori Burton, the wife of studio engineer Roy Cicala, suggested that it should be sung as "poussé", as if in a foreign language, the lyrics were kept.[2]

The song was notable as a favourite of Lennon's, despite his later claim that the song was a "throwaway".[2] Pang said on the matter, "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."[2]

Content

[edit]

Lennon liked the string arrangement he wrote for Harry Nilsson's rendition of "Many Rivers to Cross", originally by Jimmy Cliff, from the album Pussy Cats so much that he decided to incorporate it into the song.[2]

The backing vocal is provided by May Pang, Lennon's partner at the time. Lennon wrote and arranged the song around his dream, hence the title and atmospheric, dreamlike feel, including the use of cellos in the chorus. The song's intricate production is reminiscent of "Strawberry Fields Forever".[2]

Recording

[edit]

The song was tracked at the Record Plant in New York City on 23 July 1974, under the working title "Walls and Bridges". Pang added her dreamy "John" overdub on 26 August 1974.[4]

Reception

[edit]

It peaked at number 9 on the Billboard Hot 100, also peaking at number 10 on the Cashbox Top 100 in the US.[5] It charted at number 23 on the UK Singles Chart and number 35 in Canada.

Billboard commented on the contrast with Lennon's previous single from Walls and Bridges, "Whatever Gets You Through the Night", stating that "#9 Dream" is a "soft rocker" with "strong production" values which it expected would reach the Top 5.[6] Cash Box said that it "is milder and more gentle than ['Whatever Gets You Through the Night'] with fine and subdued instrumentation acting as mellow cushion to John's vocal" and said that "the lyrics are super."[7] Record World said that Lennon's "best romantic ode since 'Imagine' exits with a chant reminiscent of ex-Beatle Harrison's 'My Sweet Lord.'"[8]

Personnel

[edit]

The musicians who performed on the original recording were as follows:[9]

Chart performance

[edit]

Legacy

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Number 9 Dream

View on Grokipedia
from Grokipedia
"#9 Dream" is a dream-inspired song written and performed by English musician , released as the second single from his 1974 album . The track features ethereal, dreamlike lyrics including the nonsensical Gaelic-like refrain "Ah! böwakawa poussé poussé," which originated from Lennon's during a dream, and it peaked at number 9 on the chart on February 22, 1975. Lennon composed "#9 Dream" around a pre-existing string arrangement borrowed from Harry Nilsson's cover of "," describing the process as "craftsmanship writing" rather than profound inspiration, allowing him to complete the song swiftly during sessions in . The recording, produced by Lennon himself, involved a talented ensemble including on , on , on bass, and backing vocals from , Lennon's companion at the time, along with Lori Burton and Joey Dambra. Notably, the number 9 held personal significance for Lennon, tying into motifs like his birthdate (), his childhood home at 9 Newcastle Road in , and the album's release in (the ninth month). Released on December 16, 1974, in the United States with "What You Got" as the B-side, "#9 Dream" achieved moderate commercial success, reaching number 23 on the UK Singles Chart upon its January 31, 1975, release there. The song's dreamy atmosphere, enhanced by studio effects and Lennon's use of a deliberately dull for a unique vocal texture, reflected his "Lost Weekend" period away from , during which Walls and Bridges was created. In 2003, a promotional for "#9 Dream" was produced for the Lennon DVD, incorporating surreal footage from John and Yoko Ono's experimental films such as , Two Virgins, and Imagine. The track has since been remastered multiple times, including in the 2010 edition of and the 2020 "Ultimate Mix" for the compilation, underscoring its enduring place in Lennon's solo catalog.

Background and composition

Inspiration

During John Lennon's "Lost Weekend" period spanning 1973 to 1974, he separated from and relocated to with , his production assistant and romantic partner during that time. This phase of personal upheaval, marked by emotional distance from Ono and intense creative output, shaped much of his work on the album , including the song "#9 Dream." The title of the album itself alluded to the psychological barriers and reconciliations in Lennon's life amid the separation. The direct inspiration for "#9 Dream" came from a dream Lennon experienced during the 1974 recording sessions for . In this dream, he heard a repetitive, nonsensical —"Ah! böwakawa poussé, poussé"—which he later incorporated verbatim as the song's chorus, noting its nine syllables as a subtle nod to the title. According to accounts from the period, the dream captured a dreamlike haze that mirrored Lennon's processing of his circumstances. Lennon viewed the song as emerging from his longing for Ono, with serving as a manifestation of her lingering presence in his thoughts during their time apart; he explicitly told Pang the track was not about her but reflected deeper emotional undercurrents. Early working titles for the song were "So Long Ago" and "," the latter tying directly to the album's theme of relational divides and connections. In a 1980 BBC interview, Lennon reflected on the track's origins, stating, "That's what I call craftsmanship writing... I just churned that out," emphasizing its spontaneous, dream-derived nature without overanalysis.[](Loving John: The Untold Story by May Pang, 1983)

Writing and development

In 1974, during what became known as his "Lost Weekend" separation from , began developing "#9 Dream" from a dream experienced during the album sessions that provided the song's enigmatic chorus phrase, "Ah! böwakawa poussé, poussé," which he incorporated verbatim as . Lennon later described the composition process as straightforward "craftsmanship writing," where he quickly constructed the verses around the dream fragment without profound inspiration, focusing on evoking a hazy, introspective mood. This approach allowed him to explore themes of longing and the fluid boundary between dreams and , transforming the subconscious trigger into a cohesive song structure. The title evolved from an initial conceptualization as "#9 Dream," selected for its nod to Lennon's personal numerological affinity for the number 9—tied to his birthday, his son Sean's future birthdate on the same day, and echoes of the ' experimental "" from 1968. This choice infused the song with a layer of autobiographical symbolism, linking his solo work to earlier explorations while emphasizing the dreamlike, surreal quality of the narrative. The final form retained this title, underscoring Lennon's interest in blending personal mythology with musical innovation. Personal elements, including subtle allusions to past connections and hopes for emotional reconciliation, emerged during the writing as Lennon navigated his turbulent . These aspects tied into broader themes of isolation and yearning, mirroring his post-Beatles experimentation with vulnerable, stream-of-consciousness styles in solo albums like . Ultimately, Lennon decided to position "#9 Dream" as a key single from the album, releasing it on December 16, 1974, to highlight this introspective evolution in his artistry, distinct from his more rock-oriented releases.

Musical content

Lyrics

The lyrics of "#9 Dream" unfold as a series of fragmented vignettes that evoke the disorienting haze of a half-remembered dream, blending personal longing with surreal non-sequiturs. Structured around two verses, two choruses, a bridge, and a repetitive post-chorus , the song's words prioritize impressionistic over linear , drawing the listener into a liminal space between and slumber. The full lyrics, as released on the 1974 album , are as follows:
So long ago
Was it in a dream, was it just a dream?
I know, yes I know
Seemed so very real, it seemed so real to me Took a walk by the old school
Talked to the
Met up with the queen Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé Dream, dream away
, was ?
I believe, yes I believe
More I cannot say, what more can I say? On a river of sound
Through the mirror go round, round
I thought I knew it all Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé When I wake up, baby
Somebody else is in
Don't know how
But now that you're here, stay Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
Ah! böwakawa poussé, poussé
The first verse establishes the core tension of blurred realities, with lines like "Was it in a dream, was it just a dream?" and "Seemed so very real, it seemed so real to me" using repetition to underscore the protagonist's and emotional investment in the ephemeral experience. This sets a tone of , where the dream's vividness challenges the boundaries of and truth. The ensuing chorus shifts to absurd, everyday encounters—"Took a walk by the old school / Talked to the taxman / Met up with the queen"—that mimic the illogical progression of dream logic, juxtaposing mundane British icons with a sense of fleeting connection, as if piecing together a subconscious collage of Lennon's Liverpool roots and adult life. The second verse deepens the mystical undertones, with "Dream, dream away / Magic in the air, was magic in the air?" employing rhetorical questions and affirmation ("I believe, yes I believe") to convey a tentative faith in the intangible, halting at "More I cannot say, what more can I say?" to highlight the limits of articulating the ineffable. The chorus here evolves into more abstract symbolism—"On a river of sound / Through the mirror go round, round / I thought I knew it all"—evoking fluidity and , where mirrors suggest distorted self-perception and the "river of sound" implies an auditory dreamscape. The bridge then pivots to raw vulnerability: "When I wake up, baby / Somebody else is in / Don't know how you found me / But now that you're here, stay," interpreted as a for reconciliation amid separation, reflecting Lennon's subconscious yearning for during his 1973–1975 "Lost Weekend" period away from her, with the "somebody else" alluding to his then-companion . Central to the lyrics is the nonsensical post-chorus "Ah! böwakawa poussé, poussé," a with nine syllables—a phonetic Lennon described as emerging directly from a dream, with no literal meaning but evoking a , incantatory akin to phonetic play or fragmented from . He noted in a 1980 interview that the "came to me in a dream" and fit seamlessly into the melody, later realizing its nine syllables tied into his lifelong fascination with the number nine, possibly influenced by Japanese sounds or mere dream to capture the ethereal essence. This acts as a linguistic , its ambiguity reinforcing the song's theme of elusive fantasy blending with reality. Lennon's use of amplifies the dreamlike quality: repetition in phrases like "dream, dream away" and the insistent chorus creates a mantra-like , while permeates the , allowing multiple layers of interpretation—from personal to existential reverie. Compared to his more direct utopian pleas in "Imagine," the lyrics here adopt a fragmented, psychedelic abstraction closer to the stream-of-consciousness wordplay in ' "," prioritizing emotional impression over explicit messaging.

Music and arrangement

"Number 9 Dream" is written in the key of and proceeds at a of 115 beats per minute. The song adheres to a verse-chorus form, incorporating bridges and an extended fade-out with echoing repetitions of the chorus vocals to evoke a lingering, dreamlike dissolution. Central to the melody is a gentle, arpeggiated riff that opens the track, rendered with a slide technique reminiscent of George Harrison's style, setting an introspective tone. Swelling string sections, adapted from Harry Nilsson's arrangement of "," gradually build to envelop the composition in a hazy, ambient texture. Ethereal backing vocals—delivered by Lennon, , and her friend, collectively dubbed the "44th Street Fairies"—layer soft harmonies that amplify the song's surreal, floating quality. The arrangement emphasizes atmospheric subtlety through its harmonic framework, with the verse progressing via chords including C, Em, F, and E to create subtle tension, while the chorus provides resolution through its harmonic progression. Lennon's lead vocal adopts a soft, breathy , multi-tracked with harmonies in the choruses, contrasting the rawer, more forceful delivery found in his earlier rock-driven solo recordings like those on John Lennon/Plastic Ono Band.

Recording and production

Sessions

The recording of "#9 Dream" occurred during the broader sessions for John Lennon's album , taking place from June to August 1974 at the East studio in . The track itself was recorded on July 23, 1974, with adding backing vocal overdubs on August 26, 1974. These sessions spanned approximately eight weeks, with Lennon maintaining a structured schedule of noon to 10 p.m. five days a week. Lennon served as the , collaborating closely with engineers Roy Cicala and , who handled mixing and overdubs using the studio's 16-track recording technology. This setup enabled extensive multi-tracking of vocals and instruments, allowing for layered arrangements that contributed to the track's dreamy, hazy atmosphere—a goal aligned with Lennon's intent to evoke a surreal, introspective mood. Specific production techniques included the addition of ambient sound effects in the intro and outro, which enhanced the song's otherworldly feel. Overdubs focused on vocal harmonies, with uncredited backing vocals provided by , Lennon's partner at the time, who also offered emotional support amid the sessions' intensity. The sessions presented challenges in realizing the hazy, dreamlike texture, particularly as Lennon navigated personal turmoil during his separation from , a period marked by depression that influenced the album's introspective tone. Despite this, the disciplined approach ensured the track was completed efficiently within the album's production framework.

Personnel

The recording of "#9 Dream" featured John Lennon as the , , , , and arranger of the strings and horns. Backing vocals were provided by , along with the group known as the 44th Street Fairies, consisting of Lori Burton and Joey Dambra. The spoken interjections—"John" in the first bridge and the reversed "John" in the second—were performed uncredited by , with Lennon's production overlaying the effect. On instruments, played electric guitar, Eddie Mottau contributed additional acoustic guitar (credited as Dr. Dream), handled bass, served as the primary drummer, and Arthur Jenkins added percussion. Keyboard duties were shared by on and Ken Ascher on . The strings and horns were arranged primarily by Lennon, drawing from an earlier orchestration he had composed for Harry Nilsson's cover of "." Engineering credits included Roy Cicala for strings and remix, Shelly Yakus for recording, and Jim Iovine for overdubs. The track was recorded at the in New York during sessions in summer 1974.

Release

Single details

"#9 Dream" was released as the second single from John Lennon's 1974 album , with the edition issued on December 16, 1974, under catalog number 1878, followed by the United Kingdom version on January 31, 1975, via Apple R6003. The B-side featured "What You Got", another track from the same album. The single was primarily distributed in the 7-inch vinyl format, typical for pop releases of the era. Subsequent digital reissues have included the track on compilations such as the 2010 remastered edition of Gimme Some Truth: The Best of John Lennon, making it available on streaming platforms. The artwork for the German single sleeve prominently displayed a portrait of Lennon, aligning with the visual style of his solo promotions during this period. Promotion for the single emphasized its connection to the introspective themes of Walls and Bridges, positioning it as a dreamy, atmospheric follow-up to the album's lead single "#Whatever Gets You Thru the Night". This release strategy sought to sustain radio airplay for Lennon amid his ongoing legal battles over U.S. immigration status in late 1974.

Chart performance

"#9 Dream" was a commercial success, particularly in the , where it became John Lennon's second top 10 solo single on the . The single debuted at number 68 on the chart dated December 21, 1974, and climbed steadily over the next several weeks before peaking at number 9 on the chart dated February 22, 1975. It spent a total of 14 weeks on the Hot 100. The following table details the song's weekly performance on the US Billboard Hot 100:
Chart DatePosition
December 21, 197468
December 28, 197458
January 4, 197547
January 11, 197535
January 18, 197529
January 25, 197516
February 1, 197512
February 8, 197510
February 15, 19759
February 22, 19759
March 1, 197515
March 8, 197523
March 15, 197535
March 22, 197552
The song ranked number 81 on the 1975 year-end chart, reflecting its solid performance amid a competitive year for pop singles. Internationally, "#9 Dream" reached number 23 on the UK Singles Chart, entering on February 8, 1975, and charting for eight weeks. In , it peaked at number 35 on the RPM Top Singles chart. The single also charted at number 21 on the Dutch Top 40. No major sales certifications were awarded for the single, consistent with the era's standards for non-platinum performers.

Reception

Contemporary reviews

Upon its release as a single in December 1974, "Number 9 Dream" garnered praise from critics for its atmospheric and immersive qualities within the context of John Lennon's Walls and Bridges. In a November 1974 review, critic Ben Edmonds commended the for its personal introspection and emotional vulnerability. While many reviewers appreciated the song's mellow, dreamlike ambiance, others offered mixed assessments, viewing it as somewhat subdued compared to Lennon's more energetic rock-oriented work. , writing for in October 1974, awarded Walls and Bridges a B- grade overall, noting that the conveyed genuine personal pain—potentially alluding to Lennon's references to —but critiqued the disoriented singing and ordinary accompaniment as overly relaxed and less dynamic than his earlier efforts. Despite such reservations, the song was frequently cited as a highlight of the for its emotional depth and innovative . British music publications also positioned "Number 9 Dream" as evidence of Lennon's return to a more introspective style following his rockier phases. In a 1974 Melody Maker review, Ray Coleman lauded Walls and Bridges as a "truly superb album" and Lennon as the "most interesting ex-Beatle," exemplifying this renewed focus on inner reflection.

Later assessments

In the 1990s and 2000s, retrospective reviews of "Number 9 Dream" highlighted its atmospheric qualities as a precursor to ambient pop. The AllMusic review of the album Walls and Bridges praised the track for its serene, otherworldly feel, with Lennon's hazy vocals floating over a gentle melody supported by a ghostly chorus featuring May Pang, Harry Nilsson, and Lennon himself. The song's lush production, including slide guitar by Jesse Ed Davis evoking George Harrison's style, was noted for creating an immersive, dreamlike serenity that anticipated later ambient influences in pop music. Posthumous recognition has frequently placed "Number 9 Dream" in lists of Lennon's finest solo works, emphasizing its emotional vulnerability amid his personal turmoil. During the "Lost Weekend" period of separation from Yoko Ono in 1973–1974, the song captured Lennon's raw introspection, with lyrics like "two spirits dancing so strange" reflecting elusive reveries born from subconscious turmoil. Academic analyses, such as in Ben Urish and Kenneth G. Bielen's The Words and Music of John Lennon, position it as a bridge between the Beatles' psychedelic experimentation—echoing elements of "A Day in the Life" or "I Am the Walrus"—and Lennon's more introspective solo output, blending surreal imagery with accessible melody. Recent critiques in the have reappraised the song through the lens of themes in Lennon's catalog, underscoring its depiction of psychological fragmentation during isolation. A 2024 analysis described it as evoking the intangible mysteries of dream states, tying its ethereal quality to Lennon's struggles with anxiety and relational instability, while its repetitive, mantra-like chorus offers a soothing resolution. The track's hazy, immersive sound has been linked to modern dream-pop, influencing artists who draw on its blend of vulnerability and sonic ambiguity for atmospheric .

Legacy

Cover versions

R.E.M. recorded a cover of "#9 Dream" for the charity compilation album Instant Karma: The Amnesty International Campaign to Save Darfur, released in June 2007. The track, featuring former drummer Bill Berry's return for the recording, was issued as a single and reached number 142 on the UK Singles Chart. Irish singer Andrea Corr included her rendition on the 2011 covers album Lifelines, featuring a gentle, intimate arrangement. Guitarist provided an instrumental jazz interpretation on his John Lennon tribute album All We Are Saying..., released in September 2011. Some covers preserve the original's ethereal dream sequences and effects, whereas others simplify the production to emphasize vocals and guitar.

Cultural references

The title of David Mitchell's 2001 number9dream is directly inspired by Lennon's , with the centering on themes of dreams, identity, and blurred realities that parallel the track's surreal, subconscious essence. In discussions of Beatles lore, "Number 9 Dream" is frequently linked to Lennon's lifelong fascination with the number 9, a motif that originated in the experimental "" from the 1968 White Album and recurred in his solo work as a symbol of mystical or subconscious significance. As a hallmark of , "Number 9 Dream" exemplifies Lennon's shift toward ethereal, introspective soundscapes in cultural analyses of post- rock experimentation. In 2020s retrospectives, the track is highlighted in books and podcasts for underscoring Lennon's subconscious-driven , where dream fragments directly shaped like the nonsensical chorus .

References

  1. https://www.johnlennon.com/music/singles/9-dream/
  2. https://www.beatlesbible.com/1974/12/16/us-single-release-9-dream-john-lennon/
  3. https://www.officialcharts.com/songs/john-lennon-no-9-dream/
  4. https://www.songfacts.com/facts/john-lennon/9-dream
  5. https://www.classicbands.com/MayPangInterview.html
  6. https://genius.com/John-lennon-9-dream-lyrics
  7. https://www.songfacts.com/lyrics/john-lennon/9-dream
  8. https://americansongwriter.com/the-story-and-meaning-behind-9-dream-a-john-lennon-song-taken-from-a-reverie/
  9. http://www.johnlennon.com/music/singles/9-dream/
  10. https://www.beatlesbible.com/people/john-lennon/songs/9-dream/
  11. https://tunebat.com/Info/-9-Dream-Remastered-2010-John-Lennon/4ZVWvCUwsOnIGmJMj71RkG
  12. https://tabs.ultimate-guitar.com/tab/john-lennon/9-dream-chords-991098
  13. https://www.beatlesbible.com/people/john-lennon/albums/walls-and-bridges/
  14. https://www.maypang.com/walls-and-bridges-2025
  15. http://albumlinernotes.com/Walls_And_Bridges.html
  16. https://www.discogs.com/master/211997-John-Lennon-9-Dream
  17. https://www.discogs.com/release/7531122-John-Lennon--9-Dream-What-You-Got
  18. https://www.udiscovermusic.com/stories/when-john-lennon-faced-us-deportation/
  19. https://www.billboard.com/lists/john-lennon-10-biggest-billboard-hits/
  20. https://dutchcharts.nl/showitem.asp?interpret=John+Lennon&titel=%239+Dream&cat=s
  21. https://www.rollingstone.com/music/music-album-reviews/walls-and-bridges-109444/
  22. https://www.robertchristgau.com/get_album.php?id=7269
  23. https://www.allmusic.com/album/walls-bridges-mw0000194980
  24. https://www.musicvf.com/song.php?title=%25239%2BDream%2Bby%2BR.E.M.&id=105164
  25. https://www.nytimes.com/2002/03/15/books/books-of-the-times-wandering-along-the-border-between-reality-and-fantasy.html
  26. https://www.academia.edu/11789860/John_Lennons_Revolution_9_COMPLETE_
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