This is not an album review. This is a post which I would have put in the Political Thread, but it’s much too long for that.
I’ve had a lot of thoughts about the new release of the boxed set Power To The People, title abbreviated here for length, which is essentially a collection of almost all of John Lennon and Yoko Ono’s musical performances in 1972, centering around the One To One concerts performed for charity which were Lennon’s only full-length live concert as a solo artist. The box also includes a remix and “reimagining” of that year’s studio album Some Time In New York City, from which most of the live material derives, as well as studio outtakes, demos, other live performances and the like. Unfortunately, I haven’t heard the entire collection yet; only the One To One concerts are available on streaming right now. However, I’m quite familiar with the original STINYC album and its live material, as well as some of the other live tracks from previous Lennon collections. So I feel qualified to talk about it, particularly since—again—this isn’t a formal album review.
STINYC1 is Lennon’s weakest record. Produced by Phil Spector and featuring the radical band Elephant’s Memory, John and Yoko did their best to write politically charged songs about events of importance to the Left. Mission accomplished; however, these songs just aren’t all that good. Lennon’s lyrical brilliance was AWOL, and most of the numbers consist of clichés about “pigs” oppressing “brothers and sisters” and “the People”. It can get quite tiresome, even if you’re in agreement with the opinions being expressed. It also doesn’t help that the subjects of the songs were already out of date when the album was released. Angela Davis was found not guilty mere days before the record’s release; Attica had begun to fade from people’s consciousness; and John Sinclair, sentenced to ten years for possessing two marijuana joints, had his sentence overturned and had been freed. At least there was still feminism and Northern Ireland to be upset about.
However, in the context of the One to One concerts, which give the songs new energy and life with John and Yoko’s inspired performances, the album earns a new and improved reevaluation. It’s not enough to redeem it from being dated, but in light of recent events, one can look back on it with more appreciation.
Let’s start with that track, the one which opens the original record: Woman Is The N***** of the World. Based on a statement of Yoko’s from 1968, it was intended as a condemnation of women’s status worldwide, and it still holds up as such. At the time, the N-word was not completely beyond the pale, and John and Yoko stressed repeatedly in interviews that they were using it as a metaphor. Some black activists came out in support of the tune. Still, I am pretty certain that the Lennons would not have used that same metaphor today because of the pain it has inflicted on so many. For this reason, the live version was omitted from the current boxed set. I’m of two minds about this. I hate censorship; but I try to understand from my white privilege how this can feel to black people. I already own both live takes, thanks to previous Lennon releases, so I can accept the decision more easily than those who don’t. All I can say is to search your local used CD shops for Live In New York City and The John Lennon Anthology. The latter, especially, is well worth owning in any case.
Yoko’s Sisters, O Sisters follows, and is a companion feminist song urging women to stand up and support each other. I like the message, but Yoko’s vocal is one of her worst. I look forward to hearing the live versions when I can.2
Similarly, Attica State (written and performed by both Lennons) and Born In A Prison (Yoko solo) comment on incarceration, both literal and spiritual. Having only heard about Attica thanks to Dog Day Afternoon, I read about it years later on Wikipedia with horror and disgust. Prison reform is still a vitally important issue. John and Yoko were brave to be so upfront about it.
New York City follows, and is moved to the opening track on the “reimagined” studio album to replace THAT song. It works because it’s autobiographical rather than political, and in many ways is a better summary of John and Yoko in 1972 than the rest of the album. A fun and spirited piece of rock and roll.
The two songs about the Troubles follow.3 I’ve always loved The Luck of the Irish thanks to its gorgeous tune; I try to play it every St. Patrick’s Day. Sunday Bloody Sunday, which has been released in a lengthened and stripped-down mix, is a lot more powerful without Spector’s echo all over it. And though the Troubles may have been resolved—and I hope they stay that way—there’s certainly plenty of places in the world which still have them. We all know about Gaza. But check out Syria and Rwanda for even worse examples, please.
John Sinclair is outdated regarding the poet himself, but even now, people are still being thrown in jail rather than given help with drug abuse. And that’s a mean slide guitar from John Lennon.4 Angela isn’t as great as the Stones number Sweet Black Angel from Exile In Main Street (one of the few times Mick and Keith outdid a Beatle), but it’s still a lovely song, particularly the chorus.
Yoko’s We’re All Water closes the record with a lot of her glottal stop vocals, which I recognize aren’t to most peoples’ tastes; but she makes some good points about the essential humanity of everyone. There may not be much difference between our asshole President and Taylor Swift if we see their X-rays. I dunno, I’m winging this. Still, in spite of everything, we need to remember that the other side are still people; and although we may hate and abhor what they say, we shouldn’t call for physical harm to them. Otherwise we’re no better than the worst on the other side.
Well, I said this wasn’t a music review, and I meant it. I just wanted to say that these songs, most of all in their live incarnations, are still relevant over fifty (ouch) years later, in today’s times. I don’t think Nixon was a fascist the same way Asshole is a fascist, but he certainly laid the foundations for what’s going on now. Women’s rights have been pushed back. People are thrown into jails and abused. Wars are killing people for no reason. Social services have been cut more and more. And we’re so divided politically that sometimes I wonder if we can ever find a way back. These are all reasons that I’m hearing this new box with attentive ears. John and Yoko didn’t win all their political battles. But they didn’t shut up. They kept speaking out. Yoko still speaks out, or did until recently. (Hey, she’s over ninety; she’s allowed a break.) We can’t stop fighting. We need to stay woke.
To close, check out this marvelous political speech from Yoko at the evening One To One concert. It could be read at a rally today.