John and Yoko’s New York City Era

Truth be told… and to be absolutely honest… John Lennon’s lofty Sometime In New York City represented the nadir of his solo career.

Manifest by the Lennons’ increasing indoctrination into radical political dogma, a mindset that was at the center of New York’s subculture during the couple’s tenure in the city from the early ‘70s until his murder on Dec. 8, 1980. During most of that time, John and Yoko were absolutely held in sway by such outlaws and outcasts as Abbie Hoffman, Angela Davis, Jerry Rubin, John Sinclair and other antiestablishment individuals that used their leverage to advocate for causes as well as confirmation.

Of course, protest was nothing new to Lennon and Ono. Their bed-ins, anti-war mantras and such strident songs such such as “Give Peace a Chance,” “Power to the People” and, of course, the anthemic “Imagine” testified to the pair’s absolute devotion to protest and pontification. Sometime In New York City was given over entirely to various calls to arms, resulting in a dreary and dismal set of songs that paled next to every one of his early accomplishments.

Nevertheless, the album marked a significant shift for a couple that was so infatuated with slogans and sentiment that the music clearly seemed secondary. In addition, Lennon’s disdain of The Beatles had become obvious and as a result, he made it clear he had no desire to emulate the music and melodies of that iconic ensemble.

Which brings us to Power To the People. A sprawling CD/Blu-ray box set, it could be seen as a sequel of sorts to Sometime In New York City. Happily though, it’s far more essential, a document of historic importance that captures Lennon and Ono wholly assimilating to their residency in New York, while also fighting extradition by the Nixon administration, which had become fixated on a belief that Lennon would instigate an attempt to disrupt the 1972 Republican National Convention in Miami, and a desire to perform live in a city that they clearly held in thrall.

Naturally, it’s the music that will provide the main lure. That’s hardly surprising considering the fact that the box is built around the two One on One concerts which managed to raise $1.5 million to help children with intellectual and developmental disabilities. It was a good cause cause indeed, and an effort the Lennons embraced with wholehearted enthusiasm. Both shows are spotlighted in their entirety along with a hybrid set that draws from the two concerts. In addition, much of the Lennons’ live history from 1969 forward is included as well — their concert with Frank Zappa and the Mothers of Invention, an all-star live jam that brought together George Harrison, Delaney and Bonnie, Keith Moon, Eric Clapton and other famous friends, a live jam in Ann Arbor, Michigan, one-off live performances with David Peel and Phil Ochs, and of special interest, a series of demos and home recordings.

For the two One To One shows, Lennon and Ono are backed by the New York outfit Elephant’s Memory, which also find him eschewing any connection to his former colleagues is tenuous at best, given that the majority of the material is drawn from the recent Sometime in New York City album and the various singles that led up to that effort. (“Imagine,” “Cold Turkey,” et al). They open the concert with “New York City,” a biographical tune that describes their move to the city and their obvious infatuation with their new environs. The driving delivery of “Come Together” provides the sole revisit to the Beatles era, but in truth, that song, along with the White Album’s “Revolution” had already started Lennon on the road to a more radical reality.

VIDEO: John Lennon performs “Honey Don’t” at home for the film Clock.

For their part, Elephant’s Memory was a fairly nondescript outfit, but in their tenure as John and Yoko’s backing band, they served the situation well. At various points in the afternoon concert, Lennon quips that the performance is merely a rehearsal — and even admits to a glitch in their rendition of “Instant Karma!” Before bemoaning his tendency to write convoluted lyrics with “Come Together” (which he says are heard to remember) — but considering the somewhat impromptu’s circumstance, these remastered recordings are both clear and compelling, making for an intriguing experience well over 50 years on. Lennon’s performance of “Mother” is especially enthralling as he invests the same emotion and exhortation he imbued on his initial solo studio album.

Even Yoko’s offerings — “We’re All Water,” “Born In A Prison,” “Don’t Worry Kyoko (Mumy’s Mummy’s Only Looking For A Hand In the Snow)” et. al. — sound surprisingly accessible in retrospect (although that’s hardly true of Ono’s other choices or her rampant warbling). Happily too, saxophonist Stan Bronstein elevates the proceedings to a great degree.

At the same time, one can’t negate the nearly three dozen selections representing John’s so-called “Home Jams” which find him loosely toying with some select oldies (”Glad All Over,” “Wake Up Little Susie,” “Peggy Sue,” “Rave On!” “Hi-Heeled Sneakers,” and three tunes initially covered in the Fab Four’s early days — “Lend Me Your Comb,” “Honey, Don’t” and “Mailman, Bring Me No Blues”). Lennon’s love of early rock and roll was evident from the outset, making the addition of “Hound Dog” towards the end of the One To One shows a natural choice.

Notably too, the assorted memorabilia (collectors stickers, a poster, a pair of reprinted tickets to the show and a replica backstage pass) make for interesting add ons, but it’s the 200 plus page, fact-filled hard-cover coffee table book containing reflections from John and Yoko, their son Sean — who oversaw the remix and effort overall — others in attendance that makes this offering all the more meaningful. Lennon’s letter to EMI Chairman Bhaskar Menon berating him for putting stickers over the nude photos of Richard Nixon on the cover is especially interesting, as are Sean’s reflections on his mum and dad’s efforts (“They were the first power couple, like Brangelina”), but Yoko’s poignant preface, in which she declares “John knew the power of love… and he also hated injustice and hypocrisy,” puts the entire offering in context.

VIDEO: John & Yoko/Plastic Ono Band with Elephant’s Memory perform “Well Well Well” at the One To One Concert.

The book also includes set lists from each and every concert they performed with specific details about each of those shows. In addition, it contains a wealth of photos, handwritten notes and lyrics and other insights that are shared here for the first time. Likewise, the memoir exposes a little known fact revealed in a reproduction of a letter John wrote to Paul inviting him and Wings to participate in the benefit. One can only imagine what that double bill might have evolved into had McCartney accepted Lennon’s outreach via that entreaty.

The cover of the box set alone is enough to mesmerize. It shows John’s face morphing into Yoko‘s and vice versa. Indeed, almost from the start of their relationship, the two seemed to inhabit one body.

The emotional connection to these historical events can seem overwhelming at times, especially considering the fact John was taken far too soon. One can only imagine what he would have to say about the present era we’re in. Likewise, when Yoko reads a treatise written by Hitler in the early ‘30s decrying “the enemy within” and the need for law and order, the connection to present circumstance is ominous indeed. Still, it’s remarkable to be able to look back at this particular period in John Lennon’s life and be able to embrace the passion and purpose that motivated him and Yoko to be so eagerly engaged in the culture and community of their adopted country.

Ultimately then, for those who still insist on remembering John Lennon solely in the context of his contributions to The Beatles — and yes, there are those who stubbornly continue to do so — Power to the People makes it clear that John had evolved both passionately and proficiently. More than a collectors keepsake it’s a defining example of well preserved historical happenstance.

VIDEO: John & Yoko/Plastic Ono Band with Elephant’s Memory perform “Come Together” at the One To One Concert.

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Lee Zimmerman

Lee Zimmerman is a writer and columnist based in beautiful Maryville, Tennessee. Over the past 20 years, his work has appeared in dozens of leading music publications. He is also the author of Americana Music: Voice, Visionaries, and Pioneers of an Honest Sound, which will be published by Texas A&M University Press early next year.

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