Different
Sides Of Lennon
When I was contemplating the purchase of 2 Lennon CDs on November 2nd,
I had pretty much figured that one disc would take priority over the
other. Ironically, the disc I have a preference for is the opposite of
what I originally assumed.
“Rock “N” Roll”
From the 1st note of the intro to “Be Bop A Lula”, I knew I was about
to experience an impressive restoration of this album. Similar to
Lennon’s “Mind Games”, the original production of “Rock ‘N’ Roll” had a
hurried, cast off feel about it. For all of his skills, John Lennon
apparently was not the best producer of his own material. The 2004
remix / remaster of “Rock ‘N’ Roll” provides a spacious, warm
atmosphere to this album while retaining it’s intended punch. Much more
detail is evident in these recordings as are subtle benefits such as
extended fades on some of the tracks. While “Rock ‘N’ Roll” will never
be acclaimed as one of Lennon’s more significant works, it no longer
sounds like the last gasp that ended Lennon’s tenure with Apple / EMI
in 1975.
The first 2 bonus tracks are taken from 1986's “Menlove Avenue”: "Angel
Baby" and "To Know Her Is to Love Her." Another “Menlove Avenue” track
("Since My Baby Left Me") appears - although in a different take. The
fourth bonus track is the extended coda to “Just Because” in which
Lennon addresses Ringo, Paul, George and all of his fans in England. A
nice touch and yet more proof that in spite of all of Lennon’s bluster
in interviews, etc., that his former bandmates were never that far from
his thoughts.
The liner notes of “Rock ‘N’ Roll” are sparse, particularly compared
with other discs in the reissue series. The lyrics are not reproduced
which is not surprising since these are not Lennon’s own compositions.
Added detail such as session or recording notes would have been
appreciated but perhaps (as most Lennon fans are aware) because of the
contentious nature of the album’s origin, there may have been a
conscious effort to showcase this album apart from it’s turbulent
history.
“Acoustic”
Originally intended as a Japanese only release, “Acoustic” has been
given the lions share of the media attention - presumably because it
can be regarded as a “new’ release. As such, “Acoustic”, has a unique
place in Lennon’s posthumous catalog, with an ‘odds and sods’ feeling
similar to “Menlove Avenue”.
Curiously, the original track listing I received for “Acoustic” had 17
tracks. The disc that I received has 16 (the original track 8, “I’m A
Man”, is absent). Curiously, mainstream reviewers seem to be ignoring
the fact that many of the tracks (9 to be exact) were previously
released on the John Lennon Anthology only 6 years ago. For me, that
gives this release an immediate feeling of redundancy. For the average
fan, the “new” tracks will probably sound inconsequential, slight and
in poor sound quality alongside the Lennon Anthology tracks. For the
first time, there is a sense of “scrapping the bottom of the barrel” in
compiling this disc. The best thing I can say about “Acoustic” is that
it justifies the wisdom of what was chosen for the John Lennon
Anthology. For those who own the Anthology, rest assured, you already
have the best of what’s on “Acoustic”. One just hopes that “Acoustic”
does not signify the onset of contemptible “theme” releases (“John
Lennon: Love Songs”...anyone?).
As for what’s new.... For the hardcore fan, the stripped down version
of “Cold Turkey” is a disturbing, harrowing experience - as it probably
should be. Ironically, John imitates Yoko’s vocal styling here - with
(unfortunately) the same nerve wracking effect. “God” is rendered in a
cross between imitation Dylan and do wop(!) which gives this track an
interesting contrast to the officially released version . “Dear Yoko”
stands as one of the better unreleased tracks with its guitar intro and
backing - in spite of generally poor sound quality.
Production wise, “Acoustic” has a strange processed sound that is
difficult to listen to. Audio engineers will, no doubt, have more
insight than I have on this matter. (For example, I suspect “Audio
Adjuster” may have been used on “It’s Real”. The whistling is a little
too pitch perfect). At the same time, the contrast in quality between
the Lennon Anthology tracks and the previously unreleased tracks is
absolutely jarring.
It’s difficult to establish who this release is being marketed to. The
hardcore fan who is most likely to purchase “Acoustic” probably already
has the Lennon Anthology. However, the inconsistency in production and
quality of material makes this a difficult listen for the casual fan.
In summary, the 2004 reissue of “Rock ‘N’ Roll” is a significant and
essential improvement of the original album. “Acoustic” may possibly be
a curiosity for the casual fan and is primarily an acquisition for
completists.
"Rock And Roll
Circus" DVD
For all the Beatles
related products that are coming out in the fall of 2004, it may be
very easy to overlook one of the more significant entries.
On October 12th , a modest little telefilm that has been out of print
for decades (except for a brief run on VHS in 1996) was released on
DVD.
I was admittedly unfamiliar with the Rolling Stones' "Rock And Roll
Circus". I was aware of John Lennon's performance which is what
compelled me to purchase the DVD. I was in for a pleasant surprise. To
put the film into proper context, it's essentially a Rolling Stones
project, specifically driven by Mick Jagger. A circus atmosphere serves
as a backdrop to the Rolling Stones and several other acts of the day,
including a then up and coming Jethro Tull and The Who. The rock star
meets circus people aspect had a Fellini approach. To first time
viewers, “Rock and Roll Circus” and it’s loosely conceived concept
could easily be perceived in a similar atmospheric vein as the Beatles
“Magical Mystery Tour” film.
The original film’s slight playing time of 63 minutes has been fleshed
out to 4 hours of content on the DVD.
Bonus features of specific interest to Beatles fan include a brief,
previously unseen, backstage segment with Mick Jagger and John Lennon
(along with Yoko and a young Julian Lennon) under the title, “Close But
No Cigar”. There’s also a bonus clip of Lennon’s performance of “Yer
Blues” showing all 4 camera angles in an interesting split screen
effect.
Beatles fan will also appreciate some of the candid shots of John.
Seeing him dance and have an obviously great time during the Stones
performance is somehow comforting. There’s certainly no evidence of the
reclusive house husband here. At this time, Lennon was establishing a
separate identity from his well established role in the Beatles. It’s a
reminder, that for the first several years, his involvement with Yoko
may have actually served as a catalyst for artistic growth.[In
retrospect, this performance sees the emergence of John Lennon, solo
artist (or “johnandyoko” - take your pick.)]
The Taj Mahal band features guitarist Jesse Ed Davis - who bonds with
Lennon at this event and later is regularly employed as a session
player on John Lennon’s solo albums.
The segment with John Lennon and Mick Jagger that precedes “Yer Blues”
was rumored to be a send up of Allen Klein, particularly Mick’s accent.
Ironically, Klein had invited Lennon to participate on Jagger’s behalf.
Lennon’s ‘sign language’ introduction of the Rolling Stones was filmed
during another day on the set of “Let It Be” by Michael Lindsey-Hogg
who was directing “Let It Be” and “Rock And Roll Circus” during the
same time period. Lindsay-Hogg provides an insightful commentary on the
DVD. (There's also commentary by Mick Jagger, Ian Anderson, Taj Mahal,
Bill Wyman, Keith Richards, and Marianne Faithful, among others). Pete
Townsend is featured in an 18 minute bonus interview.
Some of the more humorous moments of the film take place during Yoko’s
performance: seeing the obviously annoyed grimace of the violinist
while Eric Clapton struggles to keep a straight face. All the while
Yoko is encouraged by John to keep performing. Now almost 36 years
later, Yoko’s commentary on the DVD provides a refreshing (and
humourous) perspective on her participation
"Rock And Roll Circus" was conceived at a time when music projects were
developed by musicians, for musicians - not in some corporate office by
marketers who have several degrees of separation in understanding the
interaction between musicians and their fans.
In those days, the connection between musicians and the public was more
immediate and sincere.
It was possible for supposed rival bands to be friends as well as
friendly competitors. Egos were kept in check and musicians seems far
less image conscious. It was a refreshing reminder of the qualities
that first attracted me to “rock” music in my early teens.
Retrospectively, the timing of the “Rock And Roll Circus” was immensely
significant. The event took place in December 1968, a year and a half
after the “summer of love” began. The more gritty, generic blues based
rock explosion of the late 60's was just beginning to emerge (an early
Led Zeppelin was actually rejected for this project!). There were (as
of yet) no major band breakups, no rock related tragedies, a long list
of musicians were not yet snuffed out by drug use. However, there is a
sense of something looming on the horizon. There is a “last dance” feel
about this film and a specter of major change was imminent. Eric
Clapton had left Cream just three weeks prior to the filming. Jethro
Tull performed without a full time guitarist. Mick Jagger and Keith
Richard had a recent drug bust but, this time at least, had “dodged the
bullet” when it came to the charges. Brian Jones was not looking well
and although it was not known at the time, this would be his last
performance with the Rolling Stones. Several months later, Jones would
be found dead in his swimming pool under mysterious, tragic
circumstances. Less than a year later, the Beatles would, for all
intents, no longer function as a group.
In the summer of 1969, the spirit of the 60's would end tragically with
the Manson murders and, later that same year, the Stones concert at
Altamont. But for now, the party atmosphere carried on into the wee
hours of the morning.
This DVD is highly recommended both as an entertaining film and an
important part of rock music history. The additional work on the DVD,
both with the restoration work and the bonus features - at a reasonable
price tag - makes this an essential purchase.