BIBO99
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--- Note to NUTOPIA PEOPLE: I originally wrote and published this below in April 2021. ---
Yoko’s tracks are unfortunately buried deep in the new Plastic Ono Band box, at the end of the second BluRay (except for the short jam Don’t Worry Kyoko), yet there is so much to discover. Where are the differences from the released album YOKO ONO / PLASTIC ONO BAND? Here in short sentences the essential infos, also about the b-sides and unreleased tracks, which can now be found on the 6 CD and 2 BluRay box JOHN LENNON / PLASTIC ONO BAND. The songs that made it onto Yoko’s album in December 1970 are marked with an *. The minutes and time slots given correspond to the recordings as found on the POB box, unless otherwise noted.
Don’t Worry Kyoko (Mummy’s Only Looking For A Hand In The Snow) Previously unreleased. On Disc 6.
While Harrison’s tanpura loop, which is an essential part of GREENFIELD MORNING, is played a bit faster, John and Yoko intonate the words „Don’t worry, don’t worry, don’t worry, don’t worry Kyoko“. The voices are bathed in reverb and echo. This 2:06 minute track sounds somewhat eerie. When the tape with the loop suddenly stops at the end, Yoko asks, „What’s happening?“. Since an echo effect was placed on her voice, her utterance repeats seven times.
WHY (17:58) (5:31 on YO/POB)*
This recording begins with a short bass line from Klaus, followed by Ringo’s question to the control room, „Will you put echo on the cymbals, Phil?“ In the next nine minutes, John (slide guitar), Klaus Voormann (bass) and Ringo try to find the groove. The tape is stopped three times in between, at 1:22, 2:06, and 5:23, the latter after John’s instruction, who remarks: „There’s no power, you see…. Stop recording!“. After the tape machine is turned on again, Ringo’s tempo is a bit brisker and John’s guitar playing more poignant. The jam takes shape, the guys get going. The proper track, as it is known, kicks in at around 8:21, with Yoko’s contribution beginning at 9:37. For the 1970 release, the track, which was titled „Fast Rocker“ on the tape boxes, was cut down to 5:31. I counted a total of 13 edits, though I wouldn’t be surprised if more were made. WHY sounds far more dynamic on the heavily edited 1970 release.
The tape machine is turned on while the band is jamming a „Slow Blues“ at a nice leisurely pace, with a great bass line by Klaus. Yoko cackles and bleats, the groove is really pleasant. At 1:49, a slightly indignant John interrupts Yoko saying, „Your voice is too loud in the earphones now!“. Yoko sounds like a little disappointed girl as she replies, „Oh, you stopped it at a very nice point!“ She’s right.
At 2:16 Ringo starts the beat again – and about four seconds later we find the official beginning of the track, as it can be heard on Yoko’s record. The first edit made for the 1970 release is at 5:44. The time slot between 6:14 and 12:21 has been completely taken over. The train, which will be heard later on the record, would start at 12:00.
At 12:21 is the end of the song as heard on YO/POB, but in fact jamming continued. After Ringo is working his cymbals, things get a little wilder starting at 13:06. As the accompanying book of the POB box states, „the piece then moves into a less formally structured and more complex avant-garde section.“ Can’t argue with that.
GREENFIELD MORNING I PUSHED AN EMPTY BABY CARRIAGE ALL OVER THE CITY (8:24) (5:38 on YO/POB)*
At the beginning John and Yoko talk briefly, at 0:09 Yoko’s voice enters, she intones the word „Greenfield“ in a long drawn-out voice. She is embedded in reverb and echo. From 0:18 the tanpura loop, originally played by George Harrison, starts, and this is also the beginning of the track, which was then heard on Yoko’s album (one bar from the loop was cut out for the 1970 version).
Around time frame 1:22, when Yoko sings „all over the cityyyyy…“, the track fades to an Indian beat on the 1970 released version, and the loop disappears behind Yoko’s voice. Here the loop is simply turned off, and John starts from 1:36 with his guitar; the melody reminds of the Beatles, circa 1965. Klaus on bass and Ringo try to get in. The drums are bedded in heavy delay.
And now, folx, everything is getting a little complicated and confusing: a part of the section from 2:21 to 2:56 must have been used for the fade in of the Indian beat appearing on the record. The section 3:11 – 4:09 (let’s call it section X) was used three times in the released version, but edited differently each time. The section between 5:31 – 6:01 (section Y) is heard twice in the final version (while the repetition of section Y slowly fading out to make room for the bird sounds). The section between 4:10 and 5:30 was not used in the final version, nor was the one between 6:02 and 8:01. Yoko’s following statement at 8:02, massively embedded in delay (but still much more clearer than on the finished version), that she wants it a bit quieter and Indian-like for GREENFIELD, was also used for the end of the edited track, which should also end side 1 of her album (from 4:48 on YO/POB). For the 1970 release, the speed of this part, and also the Indian beat with Ringo, Klaus and John was significantly reduced.
George Harrsion’s tanpura was recorded at Abbey Road Studios on 25 October 1970, the last recording for YOKO ONO / PLASTIC ONO BAND, respectively they worked with the loop that was made of it that day. During this session the already described jam Don’t Worry Kyoko was created.
The band start to play in, but you can tell, thanks in part to Ringo’s unusual drum style, that this is the track in question. Yoko enters at 1:31. On her record, the track starts at 3:59, so the first four minutes of the original unedited recording found no use. At 5:03 is the moment where the falling tree is heard on the released version (at 1:03 there). In fact, the band continues to play, though here the 8-track tape had to be replaced. However, the eager sound engineers Phil and Andy had a quarter-inch tape running at the same time, so the part heard here from 5:03 to 5:25 was not lost. A somewhat diminished sound quality is perceptible, probably the reason they decided to put the sound of the tree in there for release.
The next part, used for the version released in 1970, starts at 6:29. The second edit was made at 8:43. The part up to 8:58 was not used for release. Another edit is at 9:34. The time slot from 11:18 to 11:59 is the outro on the well known 4:35 version. In reality, Klaus and Ringo continue to play. John switched from his guitar to the piano, but the corresponding microphone was not live. You can hear his playing sporadically, but only vaguely and in the background, for example at 14:16, then more clearly from 14:30.
The piece ends at 15:24 with a highly delighted Yoko saying, „Fantastic!“ Murmurs can be heard, and at 15:51 the tape is turned off.
PAPER SHOES (12:13) (8:10 on YO/POB)*
Ringo starts with a beat as if you might think a bunch of Indians are on the warpath. John plays rockabilly. Both instruments are interwoven in reverb. On Yoko’s record, the track begins with the sound of rattling trains, blending into the babbling of a brook. Only then is Yoko and the band faded in. This moment can be found here at about 4:33. The part between 9:08 and 12:05 was cut out for lp release, otherwise I can’t notice any edits.
Before this song was included for Yoko’s album, they slowed down the tape a bit. John’s guitar playing is more clearly discernible on this long version, and Klaus‘ bass lines come out much better. My impression is that this 12:13 recording has a bit more atmosphere and transparency, as less delay and distortion were used on the instruments. It’s possible that it’s also because the track can be heard here at its normal speed.
The first 1:56 minutes are known as the 1997 bonus track BETWEEN THE TAKES, but in an alternate mix. The instruments and especially Yoko’s voice received some delay and reverb here on this new release, as already on GREENFIELD and PAPER SHOES. A not uninteresting affair, which would also have done quite well on her album. The hectic hustle and bustle is mercilessly continued to the end.
OMAE NO OKAA WA (6:30) Previously unreleased.
Yoko paints aloud in Japanese, the band plays a pleasant jaunty bluesrock, a mix of WHOLE LOTTA YOKO and MIDSUMMER NEW YORK. From 4:55 on they don’t find a clever ending, the rhythm slows down – but very nice bass lines by Klaus. Yoko ends the jam with the words: „Well, it’s not quite, is it?“ No, not really.
I LOST MYSELF SOMEWHERE IN THE SKY (5:01) Previously unreleased.
In the first 37 seconds, only Yoko can be heard moaning and rattling into the mic. Then it bursts out of her, Ringo supports on his cymbals. Guitar feedback in the background here and there. All this is repeated constantly, reminding me a bit of AOS and CAMBRIDGE 1969 vocally, or DON’T COUNT THE WAVES and YOU, two avant-garde experiments to be recorded a few months later for her remarkable double album FLY.
The b-side to GIVE PEACE A CHANCE, recorded at night on 4 July 1969 at the Queen Elisabeth Hotel in Montreal, Canada, after the hymn Give Peace A Chance was taped hours earlier. Yoko’s vocals (right channel) and John’s acoustic guitar (left channel) are embedded in subtle reverb – just like in the original. The sound experience is a lot more powerful here. Otherwise, there are no deviations at all. A tender quiet song which stands in stark contrast to Yoko’s Plastic Ono Band recordings in 1970.
DON’T WORRY KYOKO (MUMMY’S ONLY LOOKING FOR HER HAND IN THE SNOW) (9:27) (4:52 as a single b-side)
Recorded at Trident Studios, London, on 25 September 1969, as a b-side for John’s COLD TURKEY.
While on the 1969 single Yoko’s scream „Snooooooooow!“ is heard first and the band is faded in after a few seconds (John, Klaus, Ringo and Eric Clapton), John actually counts in and plays the riff we all know. Yoko starts at 0:17. The band is going nicely when suddenly at 4:19 Yoko exclaims, „That’s it!“ She tries to stop the musicians two times, to no avail. The part from about 4:45 until the end was ultimately used in 1969.
WHO HAS SEEN THE WIND? (2:02)
The b-side to INSTANT KARMA! (WE ALL SHINE ON). This remix is a bit difficult. The delay put on the instruments is too heavy between Yoko’s verses. It seems as if the instruments play against, and not with each other. Somehow something went wrong here, at least when you listen to the new mix on headphones. The original 1970 mix is clearly preferable in comparison.
Unpleasant, but can be forgiven: the jam OPEN YOUR BOX, which was first heard as a bonus track in 1997, is not included; probably for licensing reasons, as this track has also been included for a few years as a bonus track on the CD and vinyl version of YO / POB released by Strictly Canadian. (On the other hand, Yoko could buy all the record labels and licenses in the world if she wanted to, so the justification with the licenses could be put in doubt. Perhaps.) This may also be the reason that the entire Live Jams ended up on the second BluRay disc – to the big annoyance for all Yoko fans who are not in possession of a suitable player, or are simply unwilling to buy the expensive box. Rumor has it that mp3 files with Yoko’s tracks are already circulating among her fans and admires in a secret way.
Yoko’s tracks are unfortunately buried deep in the new Plastic Ono Band box, at the end of the second BluRay (except for the short jam Don’t Worry Kyoko), yet there is so much to discover. Where are the differences from the released album YOKO ONO / PLASTIC ONO BAND? Here in short sentences the essential infos, also about the b-sides and unreleased tracks, which can now be found on the 6 CD and 2 BluRay box JOHN LENNON / PLASTIC ONO BAND. The songs that made it onto Yoko’s album in December 1970 are marked with an *. The minutes and time slots given correspond to the recordings as found on the POB box, unless otherwise noted.
Don’t Worry Kyoko (Mummy’s Only Looking For A Hand In The Snow) Previously unreleased. On Disc 6.
While Harrison’s tanpura loop, which is an essential part of GREENFIELD MORNING, is played a bit faster, John and Yoko intonate the words „Don’t worry, don’t worry, don’t worry, don’t worry Kyoko“. The voices are bathed in reverb and echo. This 2:06 minute track sounds somewhat eerie. When the tape with the loop suddenly stops at the end, Yoko asks, „What’s happening?“. Since an echo effect was placed on her voice, her utterance repeats seven times.
-
WHY (17:58) (5:31 on YO/POB)*
This recording begins with a short bass line from Klaus, followed by Ringo’s question to the control room, „Will you put echo on the cymbals, Phil?“ In the next nine minutes, John (slide guitar), Klaus Voormann (bass) and Ringo try to find the groove. The tape is stopped three times in between, at 1:22, 2:06, and 5:23, the latter after John’s instruction, who remarks: „There’s no power, you see…. Stop recording!“. After the tape machine is turned on again, Ringo’s tempo is a bit brisker and John’s guitar playing more poignant. The jam takes shape, the guys get going. The proper track, as it is known, kicks in at around 8:21, with Yoko’s contribution beginning at 9:37. For the 1970 release, the track, which was titled „Fast Rocker“ on the tape boxes, was cut down to 5:31. I counted a total of 13 edits, though I wouldn’t be surprised if more were made. WHY sounds far more dynamic on the heavily edited 1970 release.
The tape machine is turned on while the band is jamming a „Slow Blues“ at a nice leisurely pace, with a great bass line by Klaus. Yoko cackles and bleats, the groove is really pleasant. At 1:49, a slightly indignant John interrupts Yoko saying, „Your voice is too loud in the earphones now!“. Yoko sounds like a little disappointed girl as she replies, „Oh, you stopped it at a very nice point!“ She’s right.
At 2:16 Ringo starts the beat again – and about four seconds later we find the official beginning of the track, as it can be heard on Yoko’s record. The first edit made for the 1970 release is at 5:44. The time slot between 6:14 and 12:21 has been completely taken over. The train, which will be heard later on the record, would start at 12:00.
At 12:21 is the end of the song as heard on YO/POB, but in fact jamming continued. After Ringo is working his cymbals, things get a little wilder starting at 13:06. As the accompanying book of the POB box states, „the piece then moves into a less formally structured and more complex avant-garde section.“ Can’t argue with that.
GREENFIELD MORNING I PUSHED AN EMPTY BABY CARRIAGE ALL OVER THE CITY (8:24) (5:38 on YO/POB)*
At the beginning John and Yoko talk briefly, at 0:09 Yoko’s voice enters, she intones the word „Greenfield“ in a long drawn-out voice. She is embedded in reverb and echo. From 0:18 the tanpura loop, originally played by George Harrison, starts, and this is also the beginning of the track, which was then heard on Yoko’s album (one bar from the loop was cut out for the 1970 version).
Around time frame 1:22, when Yoko sings „all over the cityyyyy…“, the track fades to an Indian beat on the 1970 released version, and the loop disappears behind Yoko’s voice. Here the loop is simply turned off, and John starts from 1:36 with his guitar; the melody reminds of the Beatles, circa 1965. Klaus on bass and Ringo try to get in. The drums are bedded in heavy delay.
And now, folx, everything is getting a little complicated and confusing: a part of the section from 2:21 to 2:56 must have been used for the fade in of the Indian beat appearing on the record. The section 3:11 – 4:09 (let’s call it section X) was used three times in the released version, but edited differently each time. The section between 5:31 – 6:01 (section Y) is heard twice in the final version (while the repetition of section Y slowly fading out to make room for the bird sounds). The section between 4:10 and 5:30 was not used in the final version, nor was the one between 6:02 and 8:01. Yoko’s following statement at 8:02, massively embedded in delay (but still much more clearer than on the finished version), that she wants it a bit quieter and Indian-like for GREENFIELD, was also used for the end of the edited track, which should also end side 1 of her album (from 4:48 on YO/POB). For the 1970 release, the speed of this part, and also the Indian beat with Ringo, Klaus and John was significantly reduced.
George Harrsion’s tanpura was recorded at Abbey Road Studios on 25 October 1970, the last recording for YOKO ONO / PLASTIC ONO BAND, respectively they worked with the loop that was made of it that day. During this session the already described jam Don’t Worry Kyoko was created.
The band start to play in, but you can tell, thanks in part to Ringo’s unusual drum style, that this is the track in question. Yoko enters at 1:31. On her record, the track starts at 3:59, so the first four minutes of the original unedited recording found no use. At 5:03 is the moment where the falling tree is heard on the released version (at 1:03 there). In fact, the band continues to play, though here the 8-track tape had to be replaced. However, the eager sound engineers Phil and Andy had a quarter-inch tape running at the same time, so the part heard here from 5:03 to 5:25 was not lost. A somewhat diminished sound quality is perceptible, probably the reason they decided to put the sound of the tree in there for release.
The next part, used for the version released in 1970, starts at 6:29. The second edit was made at 8:43. The part up to 8:58 was not used for release. Another edit is at 9:34. The time slot from 11:18 to 11:59 is the outro on the well known 4:35 version. In reality, Klaus and Ringo continue to play. John switched from his guitar to the piano, but the corresponding microphone was not live. You can hear his playing sporadically, but only vaguely and in the background, for example at 14:16, then more clearly from 14:30.
The piece ends at 15:24 with a highly delighted Yoko saying, „Fantastic!“ Murmurs can be heard, and at 15:51 the tape is turned off.
PAPER SHOES (12:13) (8:10 on YO/POB)*
Ringo starts with a beat as if you might think a bunch of Indians are on the warpath. John plays rockabilly. Both instruments are interwoven in reverb. On Yoko’s record, the track begins with the sound of rattling trains, blending into the babbling of a brook. Only then is Yoko and the band faded in. This moment can be found here at about 4:33. The part between 9:08 and 12:05 was cut out for lp release, otherwise I can’t notice any edits.
Before this song was included for Yoko’s album, they slowed down the tape a bit. John’s guitar playing is more clearly discernible on this long version, and Klaus‘ bass lines come out much better. My impression is that this 12:13 recording has a bit more atmosphere and transparency, as less delay and distortion were used on the instruments. It’s possible that it’s also because the track can be heard here at its normal speed.
The first 1:56 minutes are known as the 1997 bonus track BETWEEN THE TAKES, but in an alternate mix. The instruments and especially Yoko’s voice received some delay and reverb here on this new release, as already on GREENFIELD and PAPER SHOES. A not uninteresting affair, which would also have done quite well on her album. The hectic hustle and bustle is mercilessly continued to the end.
OMAE NO OKAA WA (6:30) Previously unreleased.
Yoko paints aloud in Japanese, the band plays a pleasant jaunty bluesrock, a mix of WHOLE LOTTA YOKO and MIDSUMMER NEW YORK. From 4:55 on they don’t find a clever ending, the rhythm slows down – but very nice bass lines by Klaus. Yoko ends the jam with the words: „Well, it’s not quite, is it?“ No, not really.
I LOST MYSELF SOMEWHERE IN THE SKY (5:01) Previously unreleased.
In the first 37 seconds, only Yoko can be heard moaning and rattling into the mic. Then it bursts out of her, Ringo supports on his cymbals. Guitar feedback in the background here and there. All this is repeated constantly, reminding me a bit of AOS and CAMBRIDGE 1969 vocally, or DON’T COUNT THE WAVES and YOU, two avant-garde experiments to be recorded a few months later for her remarkable double album FLY.
The b-side to GIVE PEACE A CHANCE, recorded at night on 4 July 1969 at the Queen Elisabeth Hotel in Montreal, Canada, after the hymn Give Peace A Chance was taped hours earlier. Yoko’s vocals (right channel) and John’s acoustic guitar (left channel) are embedded in subtle reverb – just like in the original. The sound experience is a lot more powerful here. Otherwise, there are no deviations at all. A tender quiet song which stands in stark contrast to Yoko’s Plastic Ono Band recordings in 1970.
DON’T WORRY KYOKO (MUMMY’S ONLY LOOKING FOR HER HAND IN THE SNOW) (9:27) (4:52 as a single b-side)
Recorded at Trident Studios, London, on 25 September 1969, as a b-side for John’s COLD TURKEY.
While on the 1969 single Yoko’s scream „Snooooooooow!“ is heard first and the band is faded in after a few seconds (John, Klaus, Ringo and Eric Clapton), John actually counts in and plays the riff we all know. Yoko starts at 0:17. The band is going nicely when suddenly at 4:19 Yoko exclaims, „That’s it!“ She tries to stop the musicians two times, to no avail. The part from about 4:45 until the end was ultimately used in 1969.
WHO HAS SEEN THE WIND? (2:02)
The b-side to INSTANT KARMA! (WE ALL SHINE ON). This remix is a bit difficult. The delay put on the instruments is too heavy between Yoko’s verses. It seems as if the instruments play against, and not with each other. Somehow something went wrong here, at least when you listen to the new mix on headphones. The original 1970 mix is clearly preferable in comparison.
Unpleasant, but can be forgiven: the jam OPEN YOUR BOX, which was first heard as a bonus track in 1997, is not included; probably for licensing reasons, as this track has also been included for a few years as a bonus track on the CD and vinyl version of YO / POB released by Strictly Canadian. (On the other hand, Yoko could buy all the record labels and licenses in the world if she wanted to, so the justification with the licenses could be put in doubt. Perhaps.) This may also be the reason that the entire Live Jams ended up on the second BluRay disc – to the big annoyance for all Yoko fans who are not in possession of a suitable player, or are simply unwilling to buy the expensive box. Rumor has it that mp3 files with Yoko’s tracks are already circulating among her fans and admires in a secret way.
Thank you to ROBERT WEINKAUF and RICHARD JOLY for sending good vibes.
Also thanks to Casio A158W for accurate timing, and Discogs for labels and general pleasure.
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