söndag 19 februari 2017


This must have been the most publicly hated album that period. At the time much of the negative emotions were related to the whole Yoko trauma - Beatles divider having a different cultural background and performing art and music not fitting common sense. Maybe understandable then from a narrow chauvinist point of view, but I do not get why some of those feelings still remain. Since then we've had spacerock, krautrock, avant garde and a garage rock revival. To my ears it fits all those genres and can also be seen as very early exemples of the former three. Leaving the "Aos" cut behind - a free form jazz rehersal tape from an Ornette Coleman session which I can't seem to grasp - the rest is ravishing. "Why" with Yoko moaning, sighing and screaming accompanied by Lennons hard-core psych guitar licks to a foundation of Klaus Voorman's pumping bass and a hard working Ringo behind the drums - any kraut band from then to now would be proud of such frenzy. "Why Not?" a kind of slow semi-blues with big bass, experimental guitars, sturdy drums and whining vocals. Finally "Touch Me", "Paper shoes" and "Greenfield Morning I Pushed An Empty Baby Carriage All Over The City" can all be tagged avant garde - filled with trials and whims mostly to some kind of rock backing. The audio on this US press shifts a little, still most of it tophole with prominent bass/drums and clear direct sound. For conformist listeners it probably comes out like an ugly visit from the forbidden zone, but to me it's honest, exciting and very enjoyable. Original vinyl releases also in Canada, Japan, UK plus a couple of European and South American countries. 2016 japan CD (Sony SICX-73) came with four bonus tracks. Premiere US had label as shown here and glossy cover with track list/info inner. (YZÄ*) (BÄ*) (ÄPLÄ*) (JYZÖ*) (FÄV*)

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