I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Crème. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums.
3 ¼ Stars
Producer: Phil Spector, Lennon, Ono
Musicians: John Lennon, Klaus Voormann, Ringo Starr, Billy Preston,
Phil Spector
Songs: Mother, Hold On, I Found Out, Working Class Hero,
Isolation, Remember, Love, Well Well Well, Look At Me, God, My Mummy’s Dead
Review by Matthew Anthony Allair
Upon the breakup of The Beatles close to the middle of the
year, most were left with speculation over what would happen next, and what the
statements would be of the ex bandmates. Would John’s album be like Icarus,
flying to close to the sun and falling, or like the rise of a Phoenix? It’s a
little of both. Paul’s solo album in April came out at the ill timed news of
the breakup, and perhaps the assessments of my peers with a little unfair. The
most significant next release has been George Harrison’s “All Things Must
Pass”, a sweeping three album box set that is populated with an unusually high
ratio of strong material. So much so, that is still a little difficult to take
in the album fully, then there’s extra ‘Apple Jams’ disc set. John has finally
released his first solo album to a huge amount of anticipation, but does it
measure up?
This isn’t first salvo of solo singles. The compelling “Give
Peace A Chance” was released in the summer of 1969, and his follow up, with
some excellent guitar, the harrowing “Cold Turkey” was released near the end of
that year. A year that ended with the Live At Toronto album with Clapton and friends. The start of this year, the John issued the excellent “Instant
Karma” prior to the official break up news. All of which sets up expectations
about the new album. I won’t follow the trend of peers who mentioned John and
Yoko’s recent Primal Scream sessions, as I want to focus on the merits of the
album, both good and bad. There is no argument about John’s lyrical goals or
the aims of a very ‘stripped down’ album, but how is it as a listening
experience – it’s kind of a mixed bag, with some brilliant tracks interlaced
with songs with unmet potential.
The album opener, after the ominous funeral bells, is a
solid, steady track with a moving vocal, “Mother”, but uneven nature of the
album creeps in by the second track, “Hold On” is a pleasant enough track and
not much different from some of McCartney’s songs from his also. It has an
interest jazzy flavor, but just doesn’t seem to develop very far beyond it’s
length. “I Found Out” is the first mid tempo rocker, and while candid lyrically,
the groove wears slightly thin in the ride out, and I will go later about my
thoughts about the electric guitar tone. Another acoustic number “Working Class
Hero” is very candid and probably one the next strongest tracks. “Isolation” is
a moving ballad, that while candid, feels like a little more could have been
done with it. I should mention that Ringo Starr and bassist Klaus Voormann are
the main support players, with extra guest help from Phil Spector and Billy
Preston.
The side two opener, “Remember” is a solid mid tempo piano
number with a clever nod to Guy Fawkes at the tail end. The ballad “Love” is
the most melodically memorable piece on the album and just about matches
McCartney’s musical sensibility, supported by Phil Spector. Some of the real
problems begin with the next set of tracks, considering it’s nearly six minute
length, “Well Well Well” sort of wears out it’s welcome soon after the cleaver
guitar and vocal blurs motif, it simply becomes disappointing as it never
develops further. Considering the lyrical subject, this could have jumped into
several directions and stayed compelling. For example, John’s Beatles track
“Happiness Is a Warn Gun’ jumped into four distinct sections, in contrast, this
song doesn’t justify it’s nearly six-minute length. The next track “Look At Me’
pretty much uses the same picking pattern as The Beatles “Julia”, while a
little interesting lyrically, the playing feels a little lazy. The next to last
track “God”, is a provocative number with a gospel piano feel, and Billy
Preston’s playing really helps to enhance a strong number. The one minute “My
Mommy’s Dead” feels like a vignette, simple, with John just sitting on a chord
with an alternate bass note, and ties into the opening number.
The four strongest numbers remain, “Mother, Working Class
Hero, Love” and “God”, followed by “Hold On” and “Isolation”. The problem with
the remaining electric tracks, is not so much the steady support of Starr or
Voormann, but I don’t care much for electric guitar tone, a strange hybrid of
clean and overdriven that undermines the heavy vibe of certain songs. Ironic,
but John’s guitar work on Yoko’s album might be better.
Producer Phil Spector supports the stripped down sound
throughout. While the candor may make a compelling statement, it doesn’t always
make for a accessible experience you may want to revisit. Yoko’s companion
album is also is a challenge that may try people’s patience if you are
unwilling to pay attention to its ideas. Yoko’s “Remember Love” illustrates she
can sing, but she uses her voice here for effect and as another instrument,
George Harrsion may have won the year with the best of the
post Beatle solo albums. Time will tell.
While “Plastic Ono Band” is a good album, it just doesn’t reach its
potential that some expected at the start of the year.
Yoko Ono / Plastic Ono Band 1970
** ¾
Producer: Ono, Lennon
Musicians: John Lennon, Klaus Voormann, Ringo Starr, George
Harrison (on track three) , Ornette Coleman, Charlie Haden, David Izenzon, Ed
Blackwell (on track four)
Music: Why, Why Not, Greenfield Morning I Pushed an Empty
Baby Carriage All Over The City, AOS, Touch Me, Paper Shoes
As I mentioned beforehand - and Ironically - in the
companion album, Yoko Ono / Plastic Ono Band, John’s guitar on “Why” and “Why
Not” sounds fierce, unhinged, and rougher, Also the Starr and Voormann backing
sound more liberated. It’s difficult to assess the second half of Ono’s album,
as you would have to compare it to John Cage, Karlheinz Stockhausen, or their
contemporaries. There is a collaboration with free Jazz legend Ornette Coleman
that might interest some. Yoko’s wordless vocals are being done to literally
treat her voice as another instrument, and this seems fitting for a woman whose
conceptual art seems more interested in ideas than obvious feelings. Still, an
album for the just curious.
