Yoko Ono/Plastic Ono Band is the avant-garde debut studio album by Yoko Ono. The album came after recording three experimental releases with John Lennon and a live album as a member of The Plastic Ono Band. With the exception of "AOS", a 1968 live recording, the entire album was recorded in one afternoon in October 1970 during the John Lennon/Plastic Ono Band sessions at Ascot Sound Studios and Abbey Road Studios, using the same musicians and production team.
All tracks by The Plastic Ono Band except "AOS", which is a rehearsal tape for a show at Albert Hall with Ornette Coleman in February 1968. Released simultaneously with a John Lennon album of the same name, this is Yoko at her most krautrock-ish. This sounds like she'd been tuned into some serious German shit! Her vocals - usually known for being screechy, freakish, and, some would say, unlistenable - can also be hynotic, dreamy and creepy. Ringo Starr cranks up some classic motorik riddims that showcase why the dude was the most underrated person in The Beatles. John Lennon creates some of his most abrasive blues based guitar riffs, and Klaus Voorman backs up the chug with deep minimal basslines.
The vinyl is black and has an obi, a red inner sleeve printed on both sides and a one-sided info inner written in Japanese. 코드 및 기타 식별자. Matrix, Runout (Label A): SAPCOR-17A.
Now Yoko finally has an album all her own out, and it bodes well for future experiments by the Murk Twins along these lines. For one thing, Yoko has excellent backup this time: one track features an Ornette Coleman quartet, and the rest find John, Ringo and bassist Klaus Voormann working out accompaniments that are by turns as frenzied as Yoko herself and quite restrained. It always sounds thought-out, carefully arranged, appropriate; and with Yoko’s music that’s saying something. into itself, flashes in weird echoes around the trestles. This one will grow on you. They haven’t ironed out all the awkwardness yet, but this is the first J&Y album that doesn’t insult the intelligence-in fact, in its dark confounding way, it’s nearly as beautiful as John’s album. Give it a try, and at least a handful of listenings before your verdict. There’s something happening here.
Yoko Ono. What to say about her" Easily the most controversial woman in essentially all of music, Mrs Lennon has one of the most notorious and vocal hatedoms In all of pop culture. Be it her ties to her husband John Lennon, her music or her overall attitude, people really really don’t like her. While I’m not here to talk about the hate she received and still does, it’s important to note her critical and cultural reception while talking about this album. Plastic Ono Band is NOT for everyone. I myself had a tough time trying to enjoy the album at first but repeated listens offered more and more enjoyability.
Recorded concurrently with John Lennon's Plastic Ono Band album, Yoko's features the same musicians, namely John, Ringo Starr, and Klaus Voormann along with the Ornette Coleman Quartet on one cut. Unlike John's record, however, Yoko's is much more a "jam"-sounding record. And while there are definite songs, lyrics are mainly vocal improvisations. Still, if avant-garde is your cup of tea, then check this one out. It's good, if only to hear John Lennon really get the guitar cranking on the opening cut, "Why.
Yoko Ono/Plastic Ono Band is a moniker under which Yoko Ono often makes albums. The "Plastic Ono Band" are a revolving-door project active since 1969, consisting of either John and Yoko and whoever else they are playing with at the time.
Her 1970 album Yoko Ono Plastic Ono Band is a triumph, in part, because it sounds fully aware of this reality. It’s also iconic because it contains some of Lennon’s most aggressive guitar work. Opener Why hurtles from its needle-drop opening, with slide guitar swoops and febrile picking that anticipate the variety of Ono’s vocal lines. Here, in another surprise, Ono’s voice sounds stolid and more traditionally correct. That feel is subsequently obliterated by the noisy middle section of AOS, a track Ono recorded in ’68 with saxophonist Ornette Coleman’s band. The Lennon-led backing group returns for the final two pieces of the original LP configuration, which have a comparatively calmer air. Like Lennon’s ’70 solo album of the same name (and near-identical cover), Ono’s Plastic Ono Band initially scans as acerbic, yet manages to create a supple variety of song-forms from that opening template.
|A1||Joseijoi Banzai (Part 1)||2:58|
|A2||Who Has Seen The Wind?||2:06|
|A3||Snow is Falling All The Time||1:24|
|A4||Listen, The Snow Is Falling||3:10|
|A5||Midsummer New York||2:42|
|A6||Sakura (Cherry Blossoms)||0:56|
|A7||Sisters O Sisters (Acoustic)||2:49|
|A9||Let's Go On Flying (Song For John)||1:09|
|B1||Walking On Thin Ice||5:56|
|B2||Sisters O Sisters (Electric)||3:31|
|B3||Don't Worry Kyoko (Mummy's Only Looking for Her Hand in The Snow)||2:17|
|B5||Joseijoi Banzai (Part 2)||5:19|