John Lennon Plastic Ono Band John Lennon/Canada 1969 Pre-Mix Acetate Remaster

The Beatles broke up in 1970, but towards the end of the band, each member was working on their own solo projects. The White Album was originally a collection of each member's solo songs, and Paul desperately tried to continue and reunite the band with the Get Back sessions and Abbey Road, but he was unable to persuade John, who was feeling a sense of accomplishment in his solo work, and George, who found a place in his relationships with Clapton and Dylan, to change their minds. John, in particular, found the same value in collaboration with Yoko as Paul, and he shifted his focus to Yoko. As for John's solo activities during the Beatles' existence, his solo stage in Toronto, recorded on the album "LIVE PEACE IN TORONTO," along with Rock 'n' Roll Circus, is a pair that should be noted. A festival called Rock 'n' Roll Revival is held every year in Canada. John's appearance was initiated by a promoter in charge of the event calling him to perform. It is not clear why the promoter asked John to play instead of The Beatles, but it may have been because there was a rumor going around that The Beatles were about to break up. In fact, John readily agreed, provided that he would play with his own band, not as The Beatles. On September 13, 1969, at the Varsity Stadium in Toronto, Canada, John had to put together a band at short notice to perform at this event. He initially asked George to play guitar, but he did not get a positive response, so Eric Clapton was put in instead. The other members were Klaus Voormann, Alan White, John and Yoko, making a five-piece band. The band was named "PLASTIC ONO BAND." This was derived from the concept that the members were not permanent but fluid, and anyone could become a member of the band at any time. How sudden the request was and how hectic the band arrangement was can be seen from the fact that Alan White's appearance was confirmed only the day before, and that Clapton, who did not know the date and time of the concert, was sleeping as usual on the morning of the concert, so he rushed to the airport after receiving the phone call. Because it was such a hastily put together band, they were unable to find time to rehearse in advance. So they had a meeting and rehearsed on the plane to Toronto, and performed almost without any preparation. The five members boarded the plane to Toronto from Heathrow Airport and first began to choose songs to play on the plane. Since they had not rehearsed in advance, John and Clapton played guitars without amplifiers, mainly standard numbers that everyone knew, and Alan White reportedly did a simple rehearsal by tapping on the back of the plane seat. As the title of the event suggests, Rock and Roll Revival was a revival of old rock and roll. The other performers were Chuck Berry, Little Richard, Jerry Lee Lewis, Fats Domino, Bo Diddly, and Gene Vincent, all of whom were John's great predecessors. In addition to oldies musicians, Alice Cooper, Chicago, and The Doors also performed on this day. The stadium was filled with 25,000 people. The festival started while it was still light, but it was completely dark by the time John performed. Invited by the excited MC's announcement, John appeared on stage, tuned up lightly, and spoke to the audience into the microphone. "We're going to play some songs that everyone knows now. Because we're a band that has never played together before." The recordings on this album were previously released as audience recordings. However, listening to it again this time, the sound is too close and high quality for an audience recording, and the cut positions between songs are the same, so it seems that this is also one of the recordings that was made with the assumption of an official release. And the fact that you can hear the tracing sound is clearly that of an acetate. However, as will be described in detail later, there are also big differences in the recording itself that go beyond the category of a different mix, making it a rather mysterious sound source. [INTRODUCTION] The presenter's proud announcement is full of excitement as the members of The Beatles appear. The audience's reaction is clearly different from the official one, and the sound of touching the microphone, which is probably being recorded, is also recorded in this work, so it seems like an audience recording. Also, around 1 minute, John's voice is recorded giving simple instructions to the band off-mic. You can also hear the voice of a band member (presumably Klaus) responding to John between tunings. These were all cut out of the official version, and they are parts that give a vivid glimpse of the stage on that day. [BLUE SUADE SHOES] The guitar after the first round of lyrics at 11 seconds into the song is a forward-leaning phrase due to a mistake by Clapton. In the official version, this part was later corrected and recorded as if it was played without any mistakes, so it is a part that you would not notice unless you listen to it and compare it with this work. The guitar solo in the latter half seems to be used as is. The cheers after the performance are different, and the audience can be heard closer here. [MONEY] The voice of the staff urging Yoko onto the stage at the intro of the song is recorded. And 24 seconds into the song, when John starts singing after the long intro, you can hear the audience getting excited in response to the fact that this is a song that was sung during the Beatles era. In the official version, this kind of audience noise is mixed as much as possible, and this work conveys a more live feeling. And the biggest difference is in the presence of Yoko. Yoko, who was prompted to come to the center of the stage at the beginning, just screams "Aaaah~Ai-ai-a-yaa~~" throughout the song, but this recording includes the part that was cut out of the official recording. This is probably the correct documentary. You can also clearly hear the conversation that John had with the other members on stage after the performance. [DIZZY MISS LIZZY] This is a cover song that closes the Beatles album "HELP", and the original was by Larry Williams. Here too, Yoko interjects with a strange voice in the latter half of the song. As expected, it was picked up by John's microphone and could not be completely erased, so it can be heard faintly on the official recording, but it is recorded clearly on the microphone in this recording. Also, while the song is titled "LIZZY" on the Beatles album, the lyrics of "Prayer for Peace" say "Lizzie". This is probably a misprint, so the credits on this recording follow the Beatles and the original. After the performance, you can also hear the voices of John and Yoko having some kind of conversation on stage. [YER BLUES] This is the only original song from the Beatles era in a set list that is mainly oldies covers. This is foreshadowed by the fact that Clapton played guitar in the band "DIRTY MAC" that backed John when they performed at Rock and Roll Circus. It was not originally planned, but it was probably chosen because Clapton became a member. Like the other songs, this song is characterized by the clear sound of Yoko's voice, which is cut out of the official mix. [COLD TURKEY] This song is introduced by Yoko, which is rare. "This is the latest song that John wrote." However, while Yoko is still talking, John says, "This is a song that we have never played (on stage) before." This means that the band has never rehearsed and will play a song that they have never played before. Indeed, the performance is quite loose and the ending has not been decided, and the song ends with a vague feeling. Given the theme of this song, Yoko's vocals should create the atmosphere, but the official mix has been kept as low as possible, and it only serves as a sound effect. In this work, Yoko's vocals are recorded with a presence that is almost like a twin vocal with John. You can also hear John counting twice in the intro. [GIVE PEACE A CHANCE] This song has not been replaced or processed other than the mix of the instrument balance, so there does not seem to be any major differences. On analog, this is the A side, and the next two songs by Yoko are the B side. The A and B sides are not edited at the point where the songs separate, but are connected uncut as they are in the original source. [This work "TORONTO ROCK AND ROLL REVIVAL 1969"] After finishing his concert on September 13, 1969, John started mixing at Abbey Road Studios just over a week later, with the 8-track tape of the concert. The result was the live album "Prayer for Peace." There are still many mysteries about what stage this work is in or what purpose it was made for, but it is certainly something different. It is a live performance in which John appeared as a soloist at a rock festival held when The Beatles were still active. Moreover, the backing musicians were Eric Clapton, Klaus Voormann, and Alan White. It was such a short notice that there was no time to rehearse, but you can enjoy John's explosive rock and roll voice, which surpasses the lack of maturity of the performance. The first half of this work contains remastered sound sources that have been removed and noise such as needle sounds have been removed to balance the sound quality, and the second half contains unedited raw sound sources. PRE-MIX ACETATE REMASTER 01. INTORODUCTION 02. BLUE SUEDE SHOES 03. MONEY 04. DIZZY MISS LIZZY 05. YER BLUES 06. COLD TURKEY 07. GIVE PEACE A CHANCE 08. DON'T WORRY KYOKO 09. JOHN, JOHN PRE-MIX ACETATE RAW 10. INTORODUCTION 11. BLUE SUEDE SHOES 12. MONEY 13. DIZZY MISS LIZZY 14. YER BLUES 15. COLD TURKEY 16. GIVE PEACE A CHANCE 17. DON'T WORRY KYOKO 18. JOHN, JOHN