Sweeter for me (Joan Baez) (LP 989)

Joan Baez Gulf Winds (Vinyl, A&M Records, 1976) ** 

Genre: Folk 

Places I remember: Record fair in Waipukarau

Fab, and all the other pimply hyperboles: Gulf Winds

Gear costume: Time Is Passing Us By

Active compensatory factors: An interesting album in that all the songs are written by Joanie, and those songs were written during Dylan's Rolling Thunder tour - a time of great creativity for both of them.

Being Joan, it's nicely introspective, with a sly glance at Bob (O Brother is a nice nod and deliberate reference to Dylan's O Sister), and autobiographical at times - the title track is a good example.

The music is pretty standard fare, except for Gulf Winds which has Joan return to a guitar/vocal combo to telling effect. The simple arrangement of Time Is Passing Us By and Stephanie's Room are more to my taste than the mid seventies band arrangements.

So, all up, I'm afraid it's a bit meh: interesting with some peaks, but not as memorable as some of her other seventies albums.

Where do they all belong? I've had a surge of appreciation for Joan and I'm still collecting her albums - I'm particularly keen to find a copy of Gone From Danger.

Costafine Town (Splinter) (LP 986 - 988)

Splinter  The Place I Love (Vinyl, Dark Horse Records, 1974) ****

Splinter  Harder To Live (Vinyl, Dark Horse Records, 1975) ***  

Splinter  Two Man Band (Vinyl, Dark Horse Records, 1977) ** 

Genre: pop/ rock; Dark Horse Records 

Places I remember: George Courts' music bar (K Road); Marbeck's Records; Taste Records

Fab, and all the other pimply hyperboles: Costafine Town (The Place I Love)

Gear costume: Somebody's City (The Place I Love); Half Way There (Harder To Live)

Active compensatory factors: Splinter is a duo (Bill Elliott and Bob Purvis) with solid gold Beatle connections. Bill Elliott had already appeared on an Apple Records' single as Bill Elliott and The Plastic Oz Band doing a couple of Lennon songs.

After Apple Records folded George maintained his interest in Splinter - signing them to Dark Horse Records and he was all over the debut album - producing and playing loads of instruments. Somebody's City sounds like an outtake from All Things Must Pass (it's that good).

George drafted in a stellar crew of mates to play on the album - Alvin Lee, Billy Preston, Jim Keltner, Klaus Voormann and Willie Weeks. So - it sounds great. Bill and Bob contribute some memorable songs and sing well.  Costafine Town was a huge hit and deservedly so.

Second album, Harder To Live, follows the same blue print - snappy arrangements, nice harmony vocals, same George Harrison/Beatles lite sound, but limited participation from George this time (he only appears on one track). 

Although Half Way There is an excellent song, with a country/folk leanings, there was no big hit on this one.

Two Man Band, the third and final Dark Horse album for Splinter, was a good effort without being especially memorable. The presence of strings on a few tracks doesn't help but it's a melodic set of songs without any hit song being apparent. Still, if you want a pleasant soft rock album for those chill moments of an evening you could do a lot worse.

Where do they all belong? I haven't bothered with the albums after Two Man Band as they weren't on Dark Horse Records, nor did they get widespread distribution.

Love (John Lennon) (LP 985)

John Lennon  John Lennon/ Plastic Ono Band (various Vinyl and various CD formats, Apple Records, 1970) *****  

Genre: Beatle pop/ rock; Apple Records

Places I remember: DJ Records; JB Hi-Fi; Real Groovy Records

Fab, and all the other pimply hyperboles: Love

Gear costume: God

Active compensatory factors: Every song on this extraordinary album, my favourite album of all time, is, in its own way, a masterpiece.

It has an amazing after life too - its ripples continue outwards. Only last week I was in the Kinokuniya bookshop in the Dubai Mall buying a very expensive, very heavy book about this and Yoko Ono/ Plastic Ono Band (her 1970 companion album).

Imagine (the song and album) were my entry point, and I backtracked to find John Lennon/ Plastic Ono Band. I approached with caution because all the stories of primal screaming had me thinking this was an Avant Garde collection of screaming.

I still remember the shock of discovery - that this was brilliance unconfined. I was a Beatle fan and now it was in full focus: I was now a John Lennon fanatic as well.

Apart from the harrowing end section of Mother and Well Well Well, it's a calmly considered series of incredibly open and honest ruminations on love, life, relationships, and music. Everything important basically.

Only John Lennon could have written and performed these songs. That he did so at the end of the sixties after eight years of continual peaks and ground-breaking sounds and songs is nothing short of super-human.

Listening to it again now, I'm struck by how timeless it is. It's stripped back to essentials in approach too - just Ringo, Klaus and John for the most part. Absolutely - less is more.

Sequencing is perfect as well. There is a healthy mix of the visceral (Well Well Well, I Found Out) with the tender and loving.

Love, gentle and vulnerable, follows Remember. My Mummy's Dead ends the album - John's pain fully evident. The Mother/My Mummy's Dead tracks bookend the album - it's back to the start, back to the womb for John and he's freed up in the process.

Then there's this albums' A Day In The Life song - God. It's a new start, a newly reborn John that emerges from this song - reality- wow, what a concept!

Remarkable. Just remarkable.

The iconic cover is perfect as well. John and Yoko at Tittenhurst - together under that spreading tree. 

I commissioned my mother to paint the scene - and her result sits in my music room at Maple Grove. I treasure it for many different reasons but the calming influence of the painted scene stays with me wherever I am.

Where do they all belong? Imagine is next.

Down the line (Grateful Dead) (LP 982 - 984)

Grateful Dead with Duane Allman Fillmore East 1971 (Vinyl, Bootleg) ***  

Grateful Dead  The Closing Of Winterland December 31 1978 (CD, Grateful Dead Productions, 1978) ***  

Grateful Dead  Nightfall Of Diamonds (CD, Rhino, 1989) ****  

Genre: San Francisco rock

Places I remember: Spellbound Wax Company, Real Groovy Records and JB Hi Fi in that order.

Fab, and all the other pimply hyperboles: Down The Line (Fillmore East 1971); Fire On The Mountain (Winterland)

Gear costume: Friend Of The Devil (Winterland); Uncle John's Band (Nightfall)

NB: this review comes to you from London Town! I'm on holiday but my dedication to blogging forges ahead!!

Active compensatory factors: The Grateful Dead were predominantly a live touring band and they've left a huge archive of live recordings that keep getting released. It's hard to keep up. Forget hard - impossible.

I have a few. I have no idea how they stack against the rest of their live albums so this will be a very idiosyncratic summary of these three.

Starting with the bootleg that I got a few weeks ago from Spellbound Wax Company in Gisborne for $30. Duane Allman does actually appear as billed (I was a little suspicious when I saw the cover - but sure enough). It's a good quality bootleg - I have heard far far worse believe me!

The concert is prime '71 Dead - a little ragged at times, lyrical at others, spirited throughout!

By 1978 and the Winterland gig they were a different band and a lot more polished musically. This set benefits from having a lot of new material added to the set. The downside is that at 4 CDs in length it is way too long to digest in a single setting.

Kudos to the band though - they never short changed their loyal audience.

Nightfall of Diamonds is a live set from 1989 at The Meadowlands Arena and is tight and together. It's a great, balanced set of songs that show off the band's strengths. 

Where do they all belong? Will I buy more live sets by the Dead. Yes, I will. I have a few on my list that have been recommended by reviewers. You most definitely need a 'how to buy live albums by The Grateful Dead' to make sense of things. Plus, there are still some studio albums to come before we can let them rest in peace (see what I did there?).

Reachin' for a little bit more (The Marshall Tucker Band) (LP 977 - 981)

The Marshall Tucker Band   Dedicated (Vinyl, Warner Bros Records, 1981) ***  

The Marshall Tucker Band  Tuckerized (Vinyl, Warner Bros Records, 1982) **  

The Marshall Tucker Band   Just Us (Vinyl, Warner Bros Records, 1983) **  

The Marshall Tucker Band   Greetings From South Carolina (Vinyl, Warner Bros Records, 1983) **  

The Marshall Tucker Band   southern spirit (CD, Polydor Records, 1990) ***   

Genre: Southern rock

Places I remember: Amoeba Records, Real Groovy Records, Slow Boat Records

Fab, and all the other pimply hyperboles: Silverado (Dedicated)

Gear costume: Ride In Peace (Dedicated)

Active compensatory factors: This is the third and final edition of albums by these titans of southern rock. They hung in there longer than most and managed to live up to the brothers of the road vibe.

And so we enter the eighties, a tricky decade for bands who established themselves in the seventies.

Dedicated is the first album after bass player Tommy Caldwell's tragic death from a car accident. The band is intact apart from that and still aiming to produce that crazy good southern country swing that they do so well.

By this stage though, they appear more interested in a tilt at the adult contemporary music market, than staying true to their roots. While Doug Gray is involved it will always sound like TMTB. So, three stars for Dedicated.

It only cost me $1.00 from San Francisco's Amoeba Records (from their clearance bin). Criminal, but good for me. I suppose that sums up where the band was at in 2016 when I bought it, but it's better than a clearance bin.

Tuckerized comes in a clearance bin style cover (all the covers from here on in have a whiff of budget about them it must be said). Sadly, it's a trend of diminishing returns from here on, as the ten year mark hit. 

Toy Caldwell only contributes one song to this one and George McCorkle only has one as well, so they become increasingly reliant on outside material from this album onwards, and therefore less recognizable as TMTB. The band remained intact throughout though with Franklin Wilkie the bass man from Dedicated onwards.

Just Us and Greetings From South Carolina are okay but the splitting of the band after the leaning towards country on Greetings looked inevitable. Gray and Eubanks recorded an album with session musicians next, so I don't really regard Still Holdin' On as a true Marshall Tucker Band album.

Southern spirit (lower case denotes certain things - just sayin') is a good attempt to return to the class band's country rock sound, so they get an extra star for this one, but Gray and Eubanks are the only original members. Absolutely dire cover, it must be said.

As I said before, when Doug Gray sings it sounds like TMTB but the band of brothers has long since headed off toward the sunset by the early nineties.

Where do they all belong? I haven't had any great desire to collect albums after southern spirit because the band is pretty much The Marshall Tucker Band in name only, even though Doug Gray and Jerry Eubanks remained for a while. If I come across them, I'll probably be tempted though.

Jerry retired in 1996. I hope he's happily retired - his flute and sax added a huge dimension to that signature Marshall Tucker Band sound. 

That's also the end of the southern rock section of my collection.

Sweet springs (Israel Nash) (LP 975 - 976)

Israel Nash  Lifted (CD, Desert Folklore Music, 2018) ****  

Israel Nash  Topaz (Vinyl, Desert Folklore Music, 2021) ***** 

Genre: Country rock

Places I remember: JB Hi Fi (Wellington); Real Groovy Records (Auckland)

Fab, and all the other pimply hyperboles: Strong Was The Night (Lifted), Canyonheart (Topaz)

Gear costume: Rolling On (Lifted), Closer (Topaz)

Active compensatory factors: I discovered Israel Nash via a Mojo Magazine covermount CD. It was a good discovery!

Beautiful is not an adjective I use too often to describe an album, but it fits Lifted.

The sound, his singing, the slow-ish pace, the way songs start and build - all beautiful. 

Topaz ups the game a couple of notches. The production is a bit crisper, the singing a tad more confident, the musicianship a fraction more simpatico, the songs a sliver more memorable. I think it's a worthy 5 star Wozza country rock classic.

Where do they all belong? I'll be following Israel's progress from here onwards.  

The big time (Dwight Yoakam) (LP 972 - 974)

Dwight Yoakam  Under The Covers (CD, Reprise Records, 1997) ***  

Dwight Yoakam  Population: Me (CD, Audium Records, 2003) *** 

Dwight Yoakam  Second Hand Heart (CD, Reprise Records, 2015) ****  

Genre: Country

Places I remember: The Warehouse, Virgin Megastore (Dubai)

Fab, and all the other pimply hyperboles: Good Time Charlie's Got The Blues

Gear costume: Train In Vain

Active compensatory factors: The covers album is interesting as he visits a lot of British pop bands like The Kinks (epic fail on that one as he tries a rat pack style lounge act), The Beatles, Rolling Stones, and more up to date - The Clash.

For my money he's better when doing countryish takes on material like Claudette, The Last Time, and Good Time Charlie's Got The Blues.

Population Me is his 13th studio album, and last with producer Pete Anderson (the split after 20 years wasn't a happy one). It's a good blend of songs with a broad approach to covers and a whole lot of originals. The covers are again my favs on this one - The Late Great Golden State and Trains And Boats And Planes.

Second Hand Heart is my final Dwight Yoakam album and it shows his powers were undiminished in 2015. It's another polished set of songs, more upbeat than Population Me, and something of a return to earlier form, but also a statement about how far he'd come. 

She is a good example - the sound on that one is bang up to date and a strong pop song, but a fair distance from where he started. But then, there are other songs on this one that could have come from his early period. I like the mix.

Where do they all belong? And that is that for Dwight in the collection. I'm not a completist for his albums so I doubt I'll be adding to the tally. His best work is early and on the Reprise label.

Hello, hooray (Judy Collins) (LP 971)

Judy Collins  Who Knows Where The Time Goes (CD, Elektra Records, 1968) **  

Genre: Folk rock 

Places I remember: The Warehouse 

Fab, and all the other pimply hyperboles: Pretty Polly

Gear costume: Hello Hooray

Active compensatory factors: I do like the purity of Miss Judy Blue Eyes' voice but I was a little too young to appreciate her records as they came out in the sixties and now my tastes have changed. So when I came to own this album many years after its release I did so out of interest rather than love.

When she opens the album with Hello Hooray I immediately struggle because I only know the Alice Cooper version (from Billion Dollar Babies). I'd never considered that Alice was doing a cover version.

Judy's version is great because it is radically different - almost a different song in her hands. But still - Alice's version lingers in my brain.

The backing is stellar with rock aristocracy appearing on various songs; Stephen Stills, Van Dyke Parks, Jim Gordon, Chris Ethridge and James Burton all make their presence felt.

Female vocal styles have changed a lot since her heyday, so post Joplin, Slick, Adele, Winehouse et al, Judy sounds very much of her time. Nothing wrong with that but it does limit my enjoyment - hence the two stars.

Where do they all belong? A stand alone in my collection. 

Powerhouse sod (Jack Bruce) (LP 969 - 970)

Jack Bruce  Spirit: Live At The BBC 1971 - 1978 (CD, Polydor Records, 2008) ****  

Jack Bruce  Live On The Old Grey Whistle Test (CD, Strange Fruit, 1998) *** 

Genre: Blues rock

Places I remember: EMI (Vienna); HMV (East Croyden)

Fab, and all the other pimply hyperboles: A Letter Of Thanks (Graham Bond on keyboards on the Spirit version but it's not available on Spotify)

Gear costume: Powerhouse Sod  

Active compensatory factors: There is a bit of crossover on these live session CDs. The first eight songs on Live on The OGWT from 1975 are replicated on Spirit disc 2, but it then adds a further eight songs that aren't on Spirit.

Spirit is a triple CD package and is the one to get if you want a more comprehensive wrap up of Jack's BBC dates in the seventies.

The sound on disc one (from 1971) takes a bit to adapt to - it's a bit lop-sided with the guitar by Chris Spedding heavily on one channel, but Jack is superb throughout - all impassioned lead vocals and his usual sublime bass lines. Once they've taken a couple of songs to warm up the band clicks into a mighty unit.

Disc two is that OGWT set from 1975. Mick Taylor is the featured guitarist this time out, with Carla Bley contributing as well, on keyboards. The sound is a lot calmer and less jazz fusion than the 1971 one - maybe the presence of Carla Bley and her mellotron? Whatever the case there's definitely more space around the instruments in this set.

What I love about Jack is that he was forever questing for different sounds, so the music is never formulaic or easy.

Disc three covers a 1978 concert with Simon Phillips and Tony Hymas as the rhythm section and Hughie Burns on guitar. It concentrates on tracks from Jack's How's Tricks? album. Times is particularly effective in this live version. 

Making up the numbers over the three CDs are songs from a trio - John Surman  on sax, Jon Hiseman on drums. It's a great vehicle for more musical experimentations.

Where do they all belong? And that is it for the Jack Bruce collection to this point! More Clapton is next up in this genre.

Jazzy (Bolling/ Rampal) (LP 968)

Claude Bolling and Jean-Pierre Rampal  Suite For Flute & Jazz Piano Trio No. 2 (CD, CBS, 1987) ****  

Genre: Jazz piano 

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: Jazzy

Gear costume: Vagabonde 

Active compensatory factors: I finally completed the set of these collaborations a few months ago.

Spring/ summer seasons are not complete without the beauty of a Claude Bolling jazz trio with Rampal guesting on flute.

There is an ethereal quality to these records. The sounds just float around, form into curlicues, and then drift heavenwards.

Where do they all belong? This completes my catch up of Claude Bolling's albums with Rampal. The others can be found here and here.

Blue Aura (Passport) (LP 963 - 967)

Passport  Hand Made (CD, Atlantic Records, 1973) ***  

Passport  Doldinger Jubilee '75 (CD, Atlantic Records, 1975) ***  

Passport  Cross Collateral (CD, Atlantic Records, 1975) ***  

Passport  Infinity Machine (CD, Atlantic Records, 1976) **** 

Klaus Doldinger  Passport Live (CD, WEA Records, 2000) ***

Genre: Jazz fusion 

Places I remember: Kings Recording (Abu Dhabi); Virgin Megastore (Dubai)

Fab, and all the other pimply hyperboles: Abracadabra (on Hand Made and Jubilee '75 as a live version)

Gear costume: Cross Collateral (album of the same name); Morning Sun (Infinity Machine)

Active compensatory factors: As Klaus Doldinger continued to lead various versions of Passport lineups through these years and albums the consistency of music and style is remarkable, all linked by those iconic covers.

The music varies between Spirogyra pleasantries at one end of the continuum (Morning Sun), with some ferocious ensemble playing at the other (Infinity Machine) - sometimes, as in those two songs, on the same album. 

Indeed, if you want to pick one out of the bunch, I'd go with Infinity Machine as a good starting point. The band and Klaus are in good form.

Truth be told these are nice to have, but none are essential purchases. 

The live albums do add another dimension though. Buddy Guy even makes an appearance on Jubilee '75!

The live album released in 2000 is another fantastic recording by Klaus. I think this one includes his best tenor sax playing. He's in full mastery mode throughout these German concerts. It is a tad long though - one point deducted for that.

Where do they all belong? That concludes the Passport CDs that I racked up in the Middle East. No need for any more (but I do love those covers!)

Tune up (Stan Getz/ Albert Dailey) (LP 960 - 962)

Stan Getz & Bill Evans  Stan Getz & Bill Evans (CD, Verve Records, 1973) ****  

Stan Getz & Albert Dailey  Poetry (CD, Blue Note Records, 1984) *** 

Stan Getz  Heart Place (a.k.a. The Sound Of Jazz Volume 11) (CD, Memo Music, 1988) ***   

Genre: Jazz 

Places I remember: The two collaborations - Kings Recording (Abu Dhabi); Heart Place - The Warehouse

Fab, and all the other pimply hyperboles: My Heart Stood Still (Getz & Evans)

Gear costume: Funkallero (Getz & Evans); Autumn Leaves (Heart Place)

Active compensatory factors: I really like the Getz and Evans collaboration. It comes with the brilliant Elvin Jones on drums and Ron Carter or Richard Davis on bass. What a line-up!

There's something magic about a quartet anyway but when the musicians are titans it makes for something extra special.

Poetry is just tenor sax and piano and it has taken me a lot of listens to open up to it. It was recorded in 1983 and finds Getz and Dailey reaching for different types of sounds from their instruments. It's going to take a few more listens I think.

Heart Place is an inconsistent set with the eleven minutes Billie's Bounce being the most challenging to listen to. Autumn leaves though highlights the Getz brilliance well.

Where do they all belong? That's it for Stan Getz. next up in the jazz CD section is The Frank Gibson Quartet.

Everybody heals (Anderson/ Stolt) (LP 959)

Anderson/ Stolt  Invention Of knowledge (CD, Inside Out Records, 2016) *** 

Genre: Prog rock

Places I remember: Fopp (Covent Garden)

Fab, and all the other pimply hyperboles: Chase and Harmony (from Knowing)

Gear costume: Everybody Heals

Active compensatory factors: Jon Anderson has one of those voices that is instantly recognisable. It doesn't matter much if he's performing with Yes or solo, or, as in this case, in collaboration with others.

I'm a fan but I understand how it's an acquired taste - liking one vocalist, but disliking another is in the ear of the beholder after all.

Roine Stolt is a Swedish prog musician who has had two significant bands - Kaipa in the seventies, and now The Flower Kings. 

This album is a collaboration between Anderson and Stolt, two big names in prog, but also features members of Stolt's band.

It's a very successful venture. The music has prog flourishes but doesn't sound like Yes, while Jon Anderson sounds like Jon Anderson and his lyrics are the usual hippy cosmic-centred vibe he's made his own over the years.

My one gripe is that the music floats by in four lengthy suites, without being distinctive enough to hook inside my brain. That makes it difficult to highlight some 'songs' to highlight.

That said, it sounds brilliant!

Where do they all belong? A one off project from Anderson and Stolt.

Pretty baby (Blondie) (LP 956 - 958)

Blondie  Plastic Letters (CD, Chrysalis Records, 1978) ***  

Blondie  Parallel Lines (CD, Chrysalis Records, 1978) *****  

Blondie  Blondie Live (CD, Chrysalis Records, 1999) ****  

Genre: Pop/ rock

Places I remember: The Warehouse (Hastings)

Fab, and all the other pimply hyperboles: Hanging On The Telephone (Parallel Lines)

Gear costume: Sunday Girl (Parallel Lines); Rip Her To Shreds (Blondie Live)

Active compensatory factors: Blondie's second album, Plastic Letters, is interesting as it still hangs on to some punkish sensibilities while expanding into rock and pop areas at times.

The hits were Denis and (I'm Always Touched By Your) Presence Dear and they stand out from the rest of the album. Fan Mail would have been a good single too IMHO.

Nothing on Plastic Letters prepared the world for the mega success of Parallel Lines though. It signaled a giant leap in production, song-writing and sheer presence (dear). It's a pop master class.

Blondie and Debbie Harry were everywhere in 1979 - that video for Heart Of Glass alone had an immense impact. It managed to skirt around the fringes of disco and was just palatable enough for rock fans like me in 1979.

By 1999 the band had broken up, Debbie Harry had split from Chris Stein and had had an intermittently successful solo career. 

The live album was recorded during their successful 1998-1999 comeback tour with most of the classic lineup present (Harry, Stein, Jimmy Destri and Clem Burke).

It's made up of songs recorded at a variety of gigs but sounds like one unified concert. All of the big hits are there from their career to that point so it doubles as a great retrospective.

It's recorded really well and the band are in fine form. Debbie is, of course, the iconic star of the show as is right and proper!

Where do they all belong? That's it for Blondie. Next up in this genre is Bon Iver.

Keep a light on (Dave Dobbyn) (LP 955)

dave dobbyn  the islander (CD, Columbia Records, 1998) ***  

Genre: NZ pop rock 

Places I remember: Vinyl Countdown (New Plymouth)

Fab, and all the other pimply hyperboles: waiting

Gear costume: beside you, blindman's bend (yes - everything about this album is in an unassuming lower case)

Active compensatory factors: This was a big one back in the last century - went number 1 in NZ, and, in retrospect, it's pretty clear why.

First of all everyone loves our national treasure (now Sir DD) and second of all it includes some great playing by the usual suspects (Neil Finn, Ross Burge, Ian Morris included) during, third of all, a fine collection of songs sacked in the experience of being a New Zealander.

The best of his solo albums? I'm not sure because, although I have three of them and have owned another two at various times, I'm not a huge fan (like my bros GK and KS). It's certainly my favourite if anyone is asking.

Where do they all belong? That's it for Sir David Dobbyn for now (I have kept coming back to him over the years so I may well add other albums by him to the collection yet).

Crack rock (Frank Ocean) (LP 954)

Frank Ocean  channel ORANGE (CD, Island/ Def Jam, 2012) *** 

Genre: Soul

Places I remember: HMV Oxford St.

Fab, and all the other pimply hyperboles: Lost 

Gear costume: Pyramids

Active compensatory factors: While visiting London from the Middle East, I bought this to see what all the fuss around Frank Ocean was about. Youth culture is hard to ignore while travelling around London.

I can see the attraction - offbeat songs, elliptical lyrics, and a smooth soul voice, Frank presents as a slightly eccentric one off. I didn't feel inspired to buy any other albums by him, so it's a one off for me too.

I can also truthfully say I don't listen to this album much. This is probably the third or fourth time I've listened all the way through.

This is mainly because I have a big collection and there are always other albums I'd rather listen to instead. Somehow the whole album lacks something for me to focus on: maybe it's the snippets of cinema verité he includes along the way; maybe it's all the various contributors; maybe it's the wide stylistic canvas - soul, pop, jazz, funk, psychedelic; maybe it's the length - it feels long and unfocussed to me!

Where do they all belong? Lou Rawls is next up in the soul section.

No bed for Beatle John (Yoko Ono) (LP 950 - 953)

Yoko Ono/ John Lennon  Unfinished Music #1: Two Virgins (Vinyl and CD, Apple Records, 1968) * 

John Lennon/ Yoko Ono  Unfinished Music #2: Life With The Lions (Vinyl and CD, Zapple Records, 1969) * 

John Ono Lennon & Yoko Ono Lennon  Wedding Album (Vinyl and CD, Apple Records, 1969) * 

The Plastic Ono Band  Live Peace In Toronto 1969 (Vinyl, Apple Records, 1969) **** 

Genre: Beatle pop/rock

Places I remember: Vinyl: Noel Forth helped me get Two Virgins, Wedding Album (from Japan), and Live Peace. Life With The Lions came from Marbecks before I knew Roger and all the CDs are from Real Groovy.

Fab, and all the other pimply hyperboles: Blue Suede Shoes (Live Peace)

Gear costume: Yer Blues (Live Peace); No Bed For Beatle John (Unfinished Music #2)

Active compensatory factors: These first four albums outside of The Beatles will severely test your resolve and commitment to both John and Yoko. I passed that test but it was a close thing at times.

Unfinished Music #1 (and yes my vinyl version came in a brown paper sleeve with cut outs for the faces and the album name as pictured above) is more infamous for its cover (the pair celebrating their union with a frontal nude shot - as you do) than its contents. 

It's not music as such - more a continuation of the sound collage they started with Revolution #9 on The Beatles.

Except, I really like Revolution #9. Two Virgins is much less effective as a collage.

Unfinished Music #2 collects an appearance the two made at Cambridge University - John on squawking feedback and Yoko on screaming for 26 minutes and 31 seconds, with material from a hospital stay in 1968 during which Yoko tragically miscarried.

She sings No Bed For Beatle John, the baby's heart beat is recorded, followed by a 2 minute silence and then a track where John flicks restlessly around a radio dial. Shesh.

By comparison, Wedding Album is relatively straight-forward with a side of John and Yoko repeating each other's names and a side of various press conferences from their bedisms.

Finally, there is some music on Live Peace in Toronto 1969! Wahoo, and for the most part it's spirited and remarkably coherent - given the band (Eric Clapton, Klaus Voormann, Alan White and the Lennons) rehearsed on the plane ride to Toronto.

Side One's a fab mix of old rock'n'roll numbers, a Beatle song (Yer Blues) and a couple of solo singles. I love it!

The second side is Yoko doing her thing (all over you) on two songs. Don't Worry Kyoko (Mummy's Only Looking For Her Hand In The Snow) has its moments with John and Eric supplying some grunty guitar but the lengthy John John (Let's Hope For Peace) again tests that resolve.

Where do they all belong? After he got those four albums out of his system, our hero put out a five star classic and only my favourite album of all time (coming soon).