Considered valuable collectors' items because produced in smaller quantity than releases made available to the general public. It is "new" - it was never played. It arrived from the record label without shrink wrap. Shrink wrap is not on any copies that are sent within the entertainment industry directly to broadcasters such as radio & television stations, and to tastemakers, such as DJs and music journalists.
Consider Yoko Ono's historical plight: is she a pioneering musical avant-gardist or a pretentious opportunist? But if Ono is concerned about that disparate legacy, there's little evidence on this 2001 release. Indeed, 30 years of history be damned, the Ono of Blueprint
still seems consumed by agit- prop feminism and instinctive angst. The pulsing two-part soundscape "I Want You to Remember Me" descends from threatening dialog in its first act to harrowing violence in the second. If there are frequent bowings to more traditional song forms (the playful, star-struck pop of "Wouldnit 'Swing'," "Is This What We Do"'s Spanish-inflected boomer rock, the Caribbean rhythms of "I'm Not Getting Enough"), their rhetoric generally leaves little doubt that woman is still the nigger of Ono's world. While her late husband's influence can be felt on the spare "Soul Got out of the Box" and the anthemic "I Remember Everything," the epic live improvisatory workouts "Rising II" and "Mulberry" that consume nearly half the album pay ample tribute to Ono's own provocative musical impulses. And while her id-clearing screeches and tortuous throat-warbling are trademarks claimed as inspiration by the B-52's
and others, they won't do much to dissuade cynics convinced the artist owes at least some small debt to the Looney Tunes sound effects department. Let the debate begin. --Jerry McCulley