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Plastic Ono Band Original recording remastered, Extra tracks

4.0 out of 5 stars 3 customer reviews

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Audio CD, Original recording remastered, Extra tracks, 9 Jun 1997
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Vinyl, Import, 1970
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Product details

  • Audio CD (9 Jun. 1997)
  • Number of Discs: 1
  • Format: Original recording remastered, Extra tracks
  • Label: Rykodisc
  • ASIN: B0000009RH
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 231,909 in Music (See Top 100 in Music)
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Track Listings

Disc: 1

  1. Why - The Plastic Ono Band
  2. Why Not
  3. Greenfield Morning I Pushed An Empty Baby Carriage All Over The City - The Plastic Ono Band
  4. Aos
  5. Touch Me
  6. Paper Shoes
  7. Open Your Box (previously unreleased version);BONUS TRACK
  8. 'Someting More Abstract'
  9. The South Wind (previously unreleased);BONUS TRACK

Product description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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By Lozarithm VINE VOICE on 13 April 2005
Format: Audio CD
November 9th 1966 was quite an auspicious day for John Lennon, and for the rest of the world in some small way, because when walked into London's Indica Gallery he met Yoko Ono. The lives of both were forever altered by the other, perhaps more so for Lennon as Yoko introduced him to the avant-garde art world from a perspective that was wholly new to him, and a world beyond Beatledom.
Four years later the albums John Lennon/Plastic Ono Band and Yoko Ono/Plastic Ono Band were simultaneously unleashed on Apple, the name of the label inspired by Yoko Ono, each featuring matching photos of John and Yoko under a tree on the front cover and a photograph of them as a child on the reverse. Both albums explore the themes of basics, innocence and childhood. On the John Lennon album, Yoko is credited with "wind".
John Lennon's first solo album after splitting from the Beatles obviously had an inbuilt importance, and probably outsold the Yoko Ono album many thousands of times over, but Yoko's was probably the more innovative and ahead of its time, and still sounds heady, fresh and exciting today.
The album starts with the sound of a tape machine being turned on and the sizzling rhythm section of Klaus Voormann and Ringo Starr begins, abetted by the sounds of John Lennon's screaming guitar in a style far more liberated than on any Beatle record. When Yoko comes in, screaming the title of the song, "Why" (the only discernable fragment of lyric on the whole album), we realize that Lennon's guitar has been cleverly mimicking and anticipating Yoko's vocal, which has an awesome ferocity and intensity, and in that moment she redefines the role of woman in music for generations to come. The following track, appropriately, is Why Not.
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By A Customer on 17 Sept. 2000
Format: Audio CD
In 1969, a crowded Toronto auditorium full of rock & rollers attending a rock & roll revival (featuring some of the biggest names in rock history) patiently awaited the much-publicized debut of John Lennon's 'Plastic Ono Band'. When the band finally took the stage, they played a set of the usual rock & roll favorites to which the crowd responded well. Then John turned the mic over to his new partner, Yoko... Music as the world knew it would never be the same!
For her first solo album, Yoko divided her set between her newly created primal rock jams taking up side one and her more freeform avant-garde featured on side two. There is no question that the world was not exactly ready for the type of music this revolutionary album offered, but it did not deserve the negative response it received. Looking back on it now, this album was probably one of the most groundbreaking of its era. Here we have a woman, a Japanese woman at that, not only leading a rock band rather than just merely singing with it, but also using her voice more like a musical instrument rather than simply singing. The intense energy of the album was something that had not been experienced by most people at that time.
From the opening guitar screech of "Why" to the final end of "Paper Shoes" the album never loses it's creative edge. The two most powerful tracks on the album are of course the full-tilt rocker "Why" and the bluesy "Why Not" which at nearly 10 minutes never allows the listener to get bored. "Greenfield Morning..." is an interesting piece even if only for it's abnormally long title. In recent years, the song received a 'hats off' from fellow Japanese pop singers Shonen Knife.
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Format: Audio CD Verified Purchase
This is a great album but is a little bit safe for Yoko. I found Fly a much better album, much more avant-gard and much more interesting. This has got some great tracks on it so it it certainly worth buying if you are into avant-gard rock.
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Most Helpful Customer Reviews on (beta) (May include reviews from Early Reviewer Rewards Program) 3.7 out of 5 stars 79 reviews
2 of 2 people found the following review helpful
5.0 out of 5 stars Excellent work! 28 Jan. 2016
By William L. Farmer - Published on
Format: Audio CD Verified Purchase
Excellent music! I've always been a fan of John Lennon's 'Plastic Ono Band' album, but I never took the time to listen to Yoko's until recently. After hearing it on YouTube, I got this and am completely satisfied. This is a great album! Yoko's vocals do a time or two to get used to, but they really complement the band (Lennon/Voormann/Starr) and add a whole other essential dimension. Since this is the companion piece to John's I suggest that they be listened to together.
3 of 3 people found the following review helpful
4.0 out of 5 stars wow 22 Dec. 2010
By Reader and Writer - Published on
Format: Audio CD Verified Purchase
This album is everything everyone says it is. Lennon plays guitar like a cross between himself, Sonny Sharrock and Derek Bailey. Ringo and Klaus Voormann play drums and bass like stalwart, steady rockers. Yoko vocalizes like no one but herself, though with connections to various non-European, outside and free music traditions. Her vocals are a bit too much of a good thing but the fact is it is a good thing. For me the album is a meeting of styles that seldom meet and meld this well - think "Theme de Yoyo" by the Art Ensemble of Chicago, though in that case it's the horns rather than the voice that go way outside. I'm not sure I would pay $25 for it - I might. If a copy comes along for less than ten, as mine did, interested listeners would be well advised to snap it up. In short - an extreme but highly enjoyable listen.
5 of 7 people found the following review helpful
4.0 out of 5 stars Yoko's evolution as an artist & musician compares to Picasso 15 Sept. 2000
By Thomas Lapins - Published on
Format: Audio CD Verified Purchase
Think about it. This woman takes you on trips few other artists would even dare to imagine. "Why" has the same intellectual insight and energy as does her "We're All Water" from "Sometime In New York City" (which was more her album than John's). "Why" has no real lyrics but instead says it all with pure emotion and energy. The title probes your mind from the start. Then her "Why Not" takes it a step further. She plays with the listener in a serious way. Yoko's use of sounds and instruments are always a strange and brilliant mix. The speeding locomotive at the end of "Why Not" ties in well with "Greenfield Moring". I always think of "Atmospheres" from 2001 when I hear "Greenfield Morning". You feel like you're tripping into sounds unknown. Her subtitle for this album was "Play In The Dark". You have a real feel that you're moving in the dark on this album. You always feel that you're in motion but have no idea quite where you're going. "AOS" drags a bit. I can't really get into this one as much as the above. In fact, I would have burned this one on some campfire and played its cremation (snap! crackle! pop!) on the album instead. "Touch Me" is more interesting. A real good sample of her music at that time. I love "Paper Shoes". I think the locomotive sound is from Hitchcock's "The Lady Vanishes" (a great movie). "Paper Shoes" is my favorite track on this album/CD. The train takes you from here to where? and then continues on some exotic adventure. You almost think you've landed in some 1800's American Indian revival. The drums and vocals hint at some war dance in progress, where the whole tribe is hypnotized around some huge bonfire, ready for some celebration or delclaration. You feel the movement everywhere. "Open Your Box" (bonus track) is early 1970's Yoko. Title says a great deal, lyrics reveal some internal/intellectual yearnings without saying where she's going. Grunts, groans, growing growing. "Something More Abstract" is more pointless than abstract. "The South Wind" could be a soundtrack for a Tennessee Williams movie. Listen to this CD and some of her other early music (before "Double Fantasy" and "Season Of Glass") and then listen to her contribution to the tribute to John Cage "A Chance Operation". Yoko goes back to her early avant-garde period then catapults into the next galaxy of thought. "Georgia Stone" takes Yoko's early conceptual less contructive music into the next stratusphere of art and music and politics and into one of the best symphonic avant-garde masterpieces of this past century. I hear this and I want more. Yoko is always relevant and poignant. She reveals so much. She unravels then puts it back together again. She's the perfect balance between the intellectual and the intuitive. John was an incredibly lucky man to have shared in the world of this woman.
2 of 2 people found the following review helpful
5.0 out of 5 stars Five Stars 4 Jun. 2015
By Edivalther Dantas - Published on
Format: Audio CD Verified Purchase
If you don't know this...u don't understand anything about music
4.0 out of 5 stars The four stars is for the service. The album ... 11 May 2016
By A. R. Dearling - Published on
Format: Audio CD Verified Purchase
The four stars is for the service. The album, as I knew in advance, has only one track recognisable as rock n' roll. The rest is very typical of early Ono - a melange of voice-noise.
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