The Shadow of a Controversial Song

Power to the People chronicles Lennon and Ono’s relocation to the United States and the recording of Some Time in New York City. Positioned chronologically between the universally acclaimed Imagine and the introspective Mind Games, the set’s delayed arrival is directly linked to the aforementioned track. While intended as a provocative statement against societal misogyny in 1972, “Woman Is the N***** of the World” is now widely considered unacceptable, leading to its exclusion from this reissue and a shift in focus towards Lennon’s 1972 One to One concerts.

The decision to remove the song wasn’t taken lightly. While the excision of a single track from an artist’s body of work is significant, the expanded box set attempts to compensate with a substantial 92 bonus tracks. This includes a reimagined version of Some Time in New York City, now simply titled New York City, alongside Evolution and Element mixes. Further material comprises nearly complete recordings from two One to One concerts at Madison Square Garden, and a curated 17-track compilation drawing from both performances – available separately on CD and LP.

A Different Sonic Landscape Than ‘Imagine’

Beyond the core album, three additional albums illuminate the spontaneous nature of Lennon’s creative process during this period. Studio Jam features rock and roll covers from the recording sessions, while Home Jam presents 33 home and hotel demos, including collaborations with Phil Ochs. Live Jam 2 expands upon the live material from Some Time in New York City, incorporating performances from benefit concerts like the John Sinclair Freedom Rally and the Attica State Benefit. Overseen by Sean Ono Lennon, the box set is enriched with memorabilia and a detailed book providing crucial context.

This context centers on Lennon and Ono’s relocation to New York and their active support of radical causes through interviews, benefit performances, and songwriting. Some Time in New York City was deliberately packaged as a newspaper, reflecting the concerns of the era’s alternative press – encompassing issues like Ireland, prisons, civil rights, feminism, and broader social injustices. The songs were often composed overnight and recorded swiftly with the Elephant’s Memory, a Greenwich Village band known for their work on the Midnight Cowboy soundtrack, bolstered by the drumming of Jim Keltner. This approach, initiated as early as 1969 with the concept of releasing singles as timely “bulletins,” resulted in a markedly different artistic experience compared to the polished sound of Imagine.

The reissue presents “New York City” as the opening track, featuring extended versions of “Sunday Bloody Sunday” – now with a more chaotic and powerful outro – and “John Sinclair,” lengthened by two minutes (and notably retaining the word “gook” in its lyrics). These interventions feel authentic and justified. The remastering process emphasizes Lennon’s vocals while maintaining the raw emotional intensity of the original recordings. Sean Ono Lennon’s involvement allows for a direct connection to his father’s artistic vision, as evidenced by a recording from the Evolution mix of “New York City” where Lennon critiques “that clean recording sound that I fucking hate.”

Expanding the Lennon Live Canon

The Evolution mixes stand out as highlights within the Lennon reissues, functioning as sonic documentaries that trace the development of each song from its initial demo to its final studio form, often with input from producer Phil Spector. Yoko Ono’s self-awareness shines through during “Born in a Prison,” where she playfully acknowledges her vocal style, while Lennon quips, “Sorry Paul, it’s all over now” after recording “Sunday Bloody Sunday,” a tongue-in-cheek reference to Paul McCartney’s “Give Ireland Back to the Irish.”

The complete One to One concerts and Live Jam 2 are welcome additions to the relatively limited Lennon live catalog. While Studio Jam offers enjoyable listening, the value of hearing the band perform rock and roll standards is limited. Home Jam, however, provides a fascinating glimpse into Lennon’s creative process through fragments of home recordings, phone calls, and his ever-present performance persona. As revealed by the Get Back project and subsequent archival releases, Lennon was perpetually “on,” constantly performing. He playfully declares, “Now we’d like to change the mood a little… and go on to something a little lighter like… asphalt.”

The set culminates with four particularly poignant moments: Lennon accompanying Phil Ochs at the St. Regis Hotel in October 1971 on “I Ain’t Marching Anymore,” “Joe Hill,” “Chords of Fame,” and “Ringing of Revolution.” Lennon’s restraint is striking as he focuses on his rhythm guitar, attentively listening to Ochs’ simple yet powerful songs of protest. In this quietude, the core concept of Some Time in New York City begins to take shape.

What do you think about the decision to remove “Woman Is the N***** of the World” from this reissue? Is it a necessary act of sensitivity, or a form of censorship?

Considering Lennon’s commitment to addressing social and political issues through his music, how relevant are these themes today?

Frequently Asked Questions

• Q: What is the primary reason for the delay in releasing the Power to the People box set?

  A: The primary reason for the delay was the inclusion of the song “Woman Is the N***** of the World,” which is now considered deeply offensive and problematic.

• Q: What is included in the Power to the People box set besides the remastered albums?

  A: The box set includes 92 bonus tracks, Evolution and Element mixes, complete One to One concerts, a 17-track live compilation, studio jams, home demos, and extensive memorabilia.

• Q: How does the sound quality of the remastered tracks compare to the original recordings?

  A: The remastering process emphasizes John Lennon’s vocals and brings a crispness to the sound without sacrificing the raw emotion of the original recordings.

• Q: What role did Sean Ono Lennon play in the creation of this box set?

  A: Sean Ono Lennon oversaw the entire project, providing valuable insights and direction based on his father’s artistic vision.

• Q: What was the political and social context surrounding the creation of Some Time in New York City?

  A: The album was created during a period of intense political activism, with Lennon and Ono actively supporting various radical causes and addressing issues like Ireland, prisons, and civil rights.