Yoko Ono - Blueprint for a Sunrise

Consider Yoko Ono's historical plight: is she a pioneering musical avant-gardist or a pretentious opportunist? But if Ono is concerned about that disparate legacy, there's little evidence on this 2001 release. Indeed, 30 years of history be damned, the Ono of Blueprint still seems consumed by agit- prop feminism and instinctive angst. The pulsing two-part soundscape "I Want You to Remember Me" descends from threatening dialog in its first act to harrowing violence in the second. If there are frequent bowings to more traditional song forms (the playful, star-struck pop of "Wouldnit 'Swing'," "Is This What We Do"'s Spanish-inflected boomer rock, the Caribbean rhythms of "I'm Not Getting Enough"), their rhetoric generally leaves little doubt that woman is still the nigger of Ono's world. While her late husband's influence can be felt on the spare "Soul Got out of the Box" and the anthemic "I Remember Everything," the epic live improvisatory workouts "Rising II" and "Mulberry" that consume nearly half the album pay ample tribute to Ono's own provocative musical impulses. And while her id-clearing screeches and tortuous throat-warbling are trademarks claimed as inspiration by the B-52's and others, they won't do much to dissuade cynics convinced the artist owes at least some small debt to the Looney Tunes sound effects department. Let the debate begin. --Jerry McCulley Amazon.com

Amazing!

This album-like all of Yoko Ono's albums-is great. People trash her, but those that trash her, either do not understand her music, or they've never actually listened to any of it,(I find it's usually the latter of the two).
I felt that I should review this album, because it is brilliant, and I've had it since it first came out, and I would hate someone to miss the chance to hear a truly remarkable artist, because too many people have negative opinions of her. So throw away your preconceived notions about her.
She's amazing, and she's finally being paid her dues. For a few years now, she has become more popular, due to the remixes of her older songs-which by the way have given her many top ten hits on the dance club charts. Her music in the late 60's through the mid-90's was way ahead of its time, but the time has come, it is now! November 16, 2005

When's the next one coming?

Let's face it, those minions who bash Yoko out there are either chauvanists or bigots--take your pick. Sure, her voice isn't Beverly Sills but she definitely has sincerity (as well as talent!). Recently I bought all of Yoko Ono CDs and I have to say her artistic input over the years has been consistently good. This, her latest CD, is no exception. In fact, this is one of her rare CDs to mix her avant garde (e.g., Mulberry) with her songcraft (Is This What We Do). Usually it's either one or the other. Also: for anyone who doesn't know: when Yoko writes a melody, it's melodic, and her avant garde is not only listenable but intriguing. The only reason it's not five stars for me is that I'd like to hear Yoko write more lyrics beyond the topic of women's liberation (her typical subject matter)--or maybe I'm just the chauvanist here. At any rate: her ideas are always interesting. Meaningful music for people who have mind and ears, not contempt. August 27, 2005

My cat likes it

I played several samples of this CD on my computer while visiting the Amazon website and my male cat started meowing along. This CD is good for calming a cat and lining his box.

Face it, Yoko can't sing (unless you have a cat's ears.) November 29, 2004

Ugh.

This should be titled "Blueprint for Ruptured Eardrums". I am not quite sure why this titled was listed under "Popular Music". And don't give me any of that "avant garde" nonsense. If I had zero musical talent, I'd call it "avant garde" so pseudo-intellectuals would think they were supposed to enjoy it, too. Yoko Ono is music's physical manifestation of the Emperor's New Clothes (only with gigantic blue-blockers). July 18, 2004

an artist in her own right

Ono had classical music training (in both voice and piano) in Japan, and then she rebelled against that (but it stuck with her anyway) when she joined the avant garde art movement Fluxus, whose musical arrangements (such as those by John Cage) are known for playing with the listener's perceptions of time, beauty, boredom and humor. This album combines both. It meshes the off-beat sweetness of someone like Nico with the Kali-esque ferocity of someone like Diamanda Galas. She's Bjork turned up the "weird" notch, and above all, she is Yoko, with a powerful voice and a rich history to draw from in her song-writing. She does nothing short of pushing her medium to its very limits, and this album is a fantastic introduction to her. I would definitely also recommend picking up a copy of Grapefruit (Ono's book of instructions, which are dark, sattirical, and hysterical) while you're at it. January 15, 2004

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