Are there more than a handful of people in the world – at least in places with electricity – who don’t know the music of The Beatles?
And, I suppose, most people shudder at the name Yoko Ono, associating her with The Beatles and bad things.
But I like Yoko.
Well, I don’t know much about her as a person. She seems like a groovy, little woman and I think that the way she’s usually rockin’ those shades is kind of cool.
I thought that I’d read somewhere that she doesn’t sleep much and spends a lot of the nocturnal hours on the phone with friends around the globe.
None of that is really here or there, though.
I’d been curious to hear Yoko’s music – other than the stuff she’d done with John Lennon – ever since reading a positive review of her 1985 album Starpeace when it was released.
During the first half of the ’90s, I was the head buyer for a large record store and I’d accumulate enough store credit that, every three or four months, I’d burn one, spend an hour or two wandering the aisles and leave with several hundred dollars of new music.
(after the employee discount, I might end up with forty or fifty CDs – a mix of classic stuff and more obscure acts about which I was curious)
And that is how the first music I owned by Yoko Ono was the six-disc Onobox.
The collection was a random walk through blues, rock, reggae, and jazz blues, jazz and spoken word with elements that both foreshadowed and incorporated punk, new wave, and even rap.
Most of it was decidedly avant-garde.
The list of musicians that had performed on the twenty years of material was staggering and impressive – Eric Clapton, Ornette Coleman, Delaney & Bonnie, Sly Dunbar, George Harrison, Nicky Hopkins, Keith Moon, Bernie Worrell, Frank Zappa…it went on and on.
I didn’t like all of it. It was challenging, sometimes dissonant stuff, and Yoko’s vocal style was an acquired taste, but there were definitely a good dozen tracks that did connect with me.
The following summer, she released Rising, her first new music since Starpeace a decade earlier. I dug the album’s primal howl and attitude.
Rising, on which Ono was backed by son Sean’s band IMA, drew praise from a host of alternative acts, many who claimed Yoko as an influence. The album would be reissued a year later with remixes by Cibo Matto, Ween, Tricky, Sonic Youth’s Thurston Moore, and Beastie Boy Adam Yauch.
“The best rock record of the year,” The Drunken Frenchman – the most devoted Beatles fan I’ve ever known – noted after hearing Rising, “is by a sixty-two year-old, Japanese woman.”
(months later, Yoko appeared on the sitcom Mad About You and he declared that “All America now loves Yoko”)
It was one afternoon not long after Rising was released that I was sitting in my living room with Tree Boy who, like the Drunken Frenchman, was also a passionate Beatles fan as well as an admirer of Yoko’s music.
I think he made the suggestion to phone Yoko.
“Sure,” I replied. “I’ll simply dial information for New York City. I’m sure she’s listed.”
In fact, there was a listing for a Yoko Ono.
The phone rang and rang and rang.
Apparently she was out.
To this day I suspect that phone wasn’t ringing in the Dakota but rather as part of an exhibit in some gallery.
Yoko Ono’s catalog is so unusual and eclectic, I struggled to select a handful of songs. Instead, I’ve opted for a double dose that might be a chance for the uninitiated to check out some of her – mostly – more accessible material…
Yoko Ono – Woman Power
Woman Power first appeared on Yoko’s 1973 album Feeling The Space, which was released shortly after she reunited with John following his “lost weekend.” The album focused on the plight of women and Woman Power is a dense anthem to feminism.
Both Goodbye Sadness and Toyboat were tracks from Season Of Glass, which Ono released shortly after the murder of John Lennon.
Understandly there is plenty of grief and darkness to be found in the album, but Ono opted to open the record with the hushed Goodbye Sadness on which the singer bids sorrow farewell and expresses a need to return to the land of the living.
Toyboat is fragile and lovely, sounding almost like a surreal nursery rhyme, as the lyrics ask for rescue.
Issued a year after Seasons Of Glass, 1982’s It’s Alright (I See Rainbows) drew on the sounds of the New Wave movement that was reaching critical mass in its influence on and entry into mainstream pop culture.
Yoko Ono’s vocals have been mentioned as an influence on some of the New Wave artists including Lene Lovich and the B-52s (who apparently were fans). If the vocals were stripped from Never Say Goodbye and I was told that the spacey, handclap-laden song was by Gary Numan, I wouldn’t have argued differently.
(though Yoko’s vocal mannerisms and New Wave was a copacetic union)
The trippy Let The Tears Dry is haunting – bomb blasts as percussion, eerie whistling synthesizers, handclaps, and choir-like, chanted vocals. It’s pretty in a strange, troubling way.
Yoko Ono – I Love You Earth
As I noted, Starpeace was the album that made me curious about Yoko Ono’s music and has been noted in a lot of reviews online as a bid for a wider commercial audience. I never acted on that review I read when the album was new in 1985; the only songs I know from the album are the few that were on Onobox.
Despite the talent assembled on Starpeace – musicians including co-producer Bill Laswell, keyboardist Bernie Worrell, reggae notables Sly Dunbar and Robbie Shakespeare, drummers Tony Williams, and Anton Fier – the songs I have heard are a bit touchy-feely and lack the adventure of the rest of Yoko’s catalog.
Yoko Ono – Revelations
The song that closes Rising is a gentle, quiet track that is a series of spoken mantras offering a dose of perspective and an expression of gratitude.
Personally, I find the song to be quite poignant.