YOKO ONO with PLASTIC ONO BAND Fly (Rykodisc)

Rip It Up, Issue 242, 1 October 1997, Page 33

YOKO ONO with PLASTIC ONO BAND Fly (Rykodisc)

YOKO ONO with PLASTIC ONO BAND Approximately Infinite Universe (Rykodisc) YOKO ONO with PLASTIC ONO BAND and SOMETHING DIFFERENT Feeling The Space (Rykodisc) YOKO ONO A Story (Rykodisc) Widely perceived and dismissed as an atonal noise-monger lacking even a shred of talent (and worse — she’s the bitch who ruined Lennon and split the Beatles), Yoko Ono’s body of work has long languished in obscurity, condemned as unlistenable by many, and uncritically deified as the apogee of innovation by others; though it’s possible that a large portion of both camps have been too selective or heard too little to make an informed judgement. Time to shatter some preconceptions then. These four albums cover the early 70s period, when Ono did not confine herself to avant-garde experimentalism, but embraced a range of approaches that culminated in these diverse albums. The first disc of Fly, a double set from 1971, has much in common with the Plastic Ono Band album that preceded it (and anticipated both punk and new wave); with a dirty, hard rocking grind and groove employed to back Ono’s zen vocalisations; and when the band drops back (most of the second disc), extended pieces exploring tonal landscapes pull the focus firmly onto her trademark glottal self-expression — never self-

indulgent, or less than interesting. Approximately Infinite Universe is a far more conservative effort musically, with reasonably conventional song structure replacing the wild jams and experimentation. The Plastic Ono Band (in this case, actually Elephant’s Memory) move through suave, soulful rock. On The Corner-era Miles styles, intense pre-new wave, and swinging doo-wop. The lyrics are provocative, frank, fiercely individual and selfaffirming, and Ono’s vocal delivery is energised and full of character throughout this double album. Derided at the time, due no doubt to Ono’s political stance, gender and ethnicity, rather than on its own merits, Feeling The Space (1973) still stands as a timeless feminist statement ('Woman Power’ here, not girl power you understand). An entirely coherent and confident collection of songs, there is much quiet introspection, offset by a great, swaggering 70s New York rock feel — though style is somewhat

sacrificed, sometimes to considerable | substance. A Story was recorded during Ono’s I separation from Lennon, and much j material deals with her husband's ; absence. However, it is transcendent : strength, not fragility, that is the i backbone of this album’s subject ■ matter. Lennon’s production input is : missed, as the musical focus < meanders a little at some points into i music-hallish feyness. Overall, it’s the weakest and least adventurous of this j reissue quartet, but it’s appearance is ; welcome as A Story has remained in ! the vaults until now, and shows a ; definite evolutionary bridge between ; developmental stages. Ono is a talented and visionary artist, whose albums deserve attention from more than just Beatles completists (who’ll be happy with the previously unavailable home demos with Lennon). If you found Rising or its remixed cousin interesting, there’s much you’ll dig here.

TROY FERGUSON