Despite the erratic nature of his solo output, John Lennon garnered almost as much respect and reverence on his own as he did as a Beatle. It’s arguable that his extra-musical activities, such as the peace advocacy that raised the ire of the establishment, had as much or more to do with the admiration accorded Lennon, but that doesn’t deny the force of the best work he did once the iconic band dissolved in 1970. In fact, as affirmed by the remastering and repackaging of his solo work–superior perhaps in its expanded detail (and an alternate stripped down version of Milk & Honey), if not of such epochal impact as The Beatles’ catalog in 2009– John Lennon’s solo music is as clear a reflection of the man himself perhaps as the work any artist of his time.
Plastic Ono Band: John Lennon wouldn’t naturally fall into the singer/songwriter genre of the 70’s, but there was certainly no more confessional an album than his first solo album. Stark perhaps to a fault, the barebones arrangements of guitar/piano/bass/drums and vocals mirrored the declamatory tone of songs like “God” and “Working Class Hero.” Hardly an album to listen to for mere pleasure, it was not conceived or executed as entertainment, but now stands as Lennon’s most memorable work, if not most widely popular.
Imagine: After the personal and psychic exorcism of his first solo album, Lennon struck a much more open-minded tone with his second album and the music in turn reflected a brighter state of mind (with the notable exception of “How Do You Sleep?” a diatribe aimed at Paul McCartney that heightened their bitter post-Beatles era feud). Lennon didn’t shy away from mild catharsis in the form of “Crippled Inside,” but with the gently anthemic title song, and “Gimme Some Truth,” coupled with the more devotional likes of “Oh Yoko” and "Jealous Guy,” Lennon matched a mainstream pop production with material which transcended mere platitudes by its emotional authenticity.
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Mind Games: In its combination of topicality, personal confession and whimsy, John Lennon‘s third solo album found him retreading themes and styles, so it was clear Lennon was not wholly inspired. More rock and less pop might’ve elevated the album’s impact beyond the title song and selections including “Nutopian National Anthem” and “Aismusen (I’m Sorry),” which makes this seeming dead-end all the more ironic in contrast to his ex-partner’s band-oriented approach in the wake of The Beatles’ split.
Rock and Roll: Perhaps knowing his music was growing soft, Lennon’s next project was fully-intended to put him back in touch with his roots in a collection of famous covers ranging from “Slippin’ & Slidin” and “Sweet Little Sixteen” to “You Can’t Catch Me” and “Bring It On Home,” The blend of balladry and up-tempo material, even without the bonus tracks of an earlier edition, sounds as balanced as the accompaniment is sympathetic. And for those no so enamored of Lennon’s faddism, the purity of performance reminded what we found so great about him at the start of his career.
Walls & Bridges: A return to the mainstream approach of the earlier albums, Walls & Bridges reflected a direct need for expression, in songs like “Scared,” as it was recorded largely during a period of separation from Yoko. The upbeat pop of its most famous tune, “Whatever Gets You Through the Night” finds an equally forceful corollary (in lush production style captured in the remastered sound) within “#9 Dream,” the title reference an early sign Lennon was finding peace with his Beatles past.
