Released in 1974,
John Lennon’s fifth solo album post-The Beatles “Walls and Bridges” should in
many ways have a best of the rest title imposed on it. “John Lennon/Plastic Ono
Band” and “Imagine” were by far and away better than anything else he would
produce during his solo career, but “Walls and Bridges” as an album comes in
comfortably in third place. Written, recorded and released during his separation
from Yoko or what was better known as Lennon’s “Lost Weekend”, “Walls and
Bridges” is a very open and honest record with Lennon portraying through the
music his emotions and feelings at the time.
Lyrically, Lennon addresses
a whole number of topics in the songs but by in large focuses in on maturity
and ageing, while also having time to express his feelings towards the two main
women in his life. “Going Down on Love” and “Bless You” explores his
relationship with Yoko and their separation at the time, while “Surprise
Surprise (Sweet Bird of Paradox)” is a song written about his lover at the time
May Pang. Apart from relationships and love, Lennon also has time for Allen
Klein in “Steel and Glass” in what is a sort of “How Do You Sleep” take two,
the ills of show business in “Nobody Loves You (When You’re Down and Out)”, and
his fear of ageing and loneliness in the haunting “Scared”. The range of themes
on display in the songs in many ways signify a man coming to terms with his maturity
but also seem to paint a picture of a man lost and depressed within a “lost
weekend”. It therefore should be of no coincidence
that shortly after the album’s release Lennon was to be reunited with Yoko after
a separation that lasted around eighteen months. The album has quite a slick 1970s
New York feel to it and is very over-produced with layers of strings lining the
songs as well as carefully constructed piano and horn arrangements. Stylistically,
“Walls and Bridges” sticks largely to a standard mid-70s pop/rock formula with
a mix of ballads such as “Old Dirt Road” and up-tempo numbers including “Whatever
Gets You thru the Night” featuring Elton John on backing vocals. Although
throughout the album there are splashes of sexy jazz “Bless You” and an
underlying R&B feel that includes a soulful edginess to Lennon’s vocal
delivery in what is a standout on the album.
The one main
criticism I have of this album is its production. It is too over-produced as an
album, something that seemed to be in vogue throughout the 70s amongst musicians
in the rock/pop hybrid genre and what became a common feature of Lennon’s
material post-Imagine. The slickness of the production I feel at times is quite
contrived and appears unnecessary, especially as the quality of the songs could
have come through better without a dense background of strings and horns. I
would have plugged for a more “Plastic Ono Band” stripped back feel to allow the
rawness and feeling in the lyrics to come through more. On the other hand I shouldn’t
be surprised as Lennon had been working with Phil Spector at the time, someone whom
he respected as a producer and who’s “Wall of Sound” recording technique is
built around the idea of records being over-produced with layers of
instruments. Despite this criticism, “Walls and Bridges” remains a favourite
Lennon album for me, and as a collection of songs is definitely the best he
would do post-Imagine. Its historical significance is also worth noting in that
it was recorded during a critical period in his life where he was away from
Yoko for an extended period, while it was also his last album of original
material for five years during which he would take a self imposed exile from
music lasting until 1980.
B+
- Sam
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