Blueprint for a Sunrise
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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
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There're 11 tracks altogether however the first track is short and verbal in nature. Overall, a number of good songs are here and the album isn't a dissapointment. "Soul Got Out of the Box"; I Remember Everything" "I'm Not Getting Enough" and "I Want You to Remember Me B" are the best ones. I'm not a fan of Mulberry although this appears to be one of Yoko's favorites given the number of times that she's sang it live. "Rising II" which is a live version isn't as good as some of the live versions I've heard but it remains an excellent combination of backing instruments and her yodelling -- one of the few songs that it seems to work out well, in my view. I would still say that "Approximately Infinite Univese", "Feeling the Space" and "Seasons of Glass" are probably more original albums and longer-lasting. I've not got Rising due to its limited availability. When's a new compilation going to arrive? There's so many good songs from Yoko starting with "Mrs Lennon".
Yoko is best when she deals with universal subjects and not the more narrow focus of this cd. Also, when she does her remembrances to John they sometimes lose the edge of her serious work. Songs from the "Milk & Honey" cd for John i.e. "Your Hands, You're The One" are right on the mark. But after that she becomes overly sentimental, very unlike her. Nonetheless, "Sunrise" has the usual great arrangements and guitar licks that punctuate many of her best songs. Yoko's songs are all pure art. Yoko is one of the few pop/rock/whatever we call them artists that interests me today.
Another good song is "I Remember Everything," one of the few John songs worth the effort. Perhaps the ultra personal is simply too personal to communicate to others. EBB did it for RB but it is rare. But then he was still alive and she didn't have to deal with the [stuff] Yoko has had to deal with as a woman, artist and a Beatlewife and Beatlewidow. Everything Yoko puts out is worth owning, at least in my household.
One has to wonder what record company would actually pony up their own cash to back this screaming subway-wheel train wreck of a project, and then I checked…aha! Capitol Records – an EMI company. Having been employed once by this prestigious entertainment firm, it came as no surprise as they were best at throwing money out the window and then moving on to the next disaster. And in case anyone wasn’t aware of it, EMI actually does stand for “Every Mistake Imaginable.”
And finally to the “I-like-anything-connected-to-John Lennon” sycophants, please, stop the madness already. This utter mess of a record is devoid of any musical, writing, or any other kind of talent. You are all lost and delusional. Please seek professional help.