IMAGINE AT 46

Having made a decidedly brave artistic statement with his first proper solo album in 1970 (Plastic Ono Band) there were rumblings from record company PR that John Lennon should try to deliver something that would appeal to a wider audience. Enlisting the help of some high profile co-conspirators, he set up shop in his home studio at Tittenhurst (Ascot Sound) to lay down tracks for his next LP. Phil Spector would again be on hand to direct traffic as producer, with George Harrison making significant instrumental contributions to a number of compositions. The material was as strong as the guest list, with inspired sparks flying throughout the sessions, which took just two weeks to arrive at a finished product. Astounding in these times where projects take that long just to properly mic the drums (if indeed a human being is actually required to play them).

Where Plastic Ono Band had austere instrumentation, emotionally raw subject matter and yielded no radio-friendly hit singles, Imagine was much lighter in tone overall. There were elements of a darker nature that fueled the lyrics, though the melodies were far more easily assimilated. Spector was also given the green light to further augment certain selections with strings and had more musicians to work with in the bargain. The "Wall of Sound" approach was not taken as Lennon was not a patient man when it came to endless studio tinkering. He was co-producer, head cook and much more a fan of spontaneity when it came to evaluating takes. Compromise in partnership won the day here and "off the floor" feel mixes comfortably with light orchestration.

"Imagine" (the song) is a model of simplicity. Yoko Ono had a large hand in the words (she also provided her feedback at critical points while recording was in progress) as John took literal inspiration from her book, Grapefruit. This warranted a co-credit that was shamefully not granted on the label. Nonetheless, it remains one of his most popular tunes, eclipsing even some of his major work produced with his former colleagues. Impressive, given the high quality of Beatle output during the previous decade. There is a reason for some of that residual magic finding its way into the grooves of this disc. Lennon resurrected several pieces that he had started in the late sixties. "Gimme Some Truth" was jammed during the Get Back/Let It Be marathon in January 1969. "Jealous Guy" was originally written in India in 1968 as "Child of Nature", duly demoed and submitted for potential placement on the White Album. He would abandon the title and completely re-write the lyrics for inclusion on Imagine. Listen to the musical reference to "A Day in the Life" just before the choruses. Similarly, "Oh My Love" was also conceived in late 1968 (post White Album issue), though Yoko's contribution is properly recognized with a name-check as co-writer. Lennon was industrious in not wholly discarding any of these ideas as they are definite highlights of the pack. Harrison blasts a ridiculously brilliant solo on "Gimme Some Truth", while he and Lennon weave gorgeous melodic arpeggios that sweetly balance the verbal assault on those "short-haired, yellow-bellied sons of Tricky Dicky". Nixon's administration would soon cause much legal wrangling and immigration anguish for the outspoken Liverpudlian, though that would eventually work out.

Vitriol was not absent from the proceedings. Paul McCartney was the real life target of "How Do You Sleep?". Their nasty war of words in the press following the dissolution of the group was regrettable. This razor sharp attack was the apotheosis, accusing Paul of being a "pretty face", creatively spent ("the only thing you done was yesterday") and tied to a nagging wife ("jump when your momma tell you anything"). Flashing back to Sgt. Pepper, there is a snippet of warm up chat/random notes prefacing the intro and a dig about the aforementioned album in the first line. He even dredges up the crazed fan mythology around his estranged writing partner's passing.

"Those freaks was right when they said you was dead..."

Ouch!

From a musical perspective, the arrangement is startling. Cutting strings swirl with a quasi-Eastern feel, the guitar tone is brittle and Harrison once again tops it off with a devastating slide break. For all of its misplaced viciousness, this one reminds the listener of the bitter wit possessed by JL. He and Paul would meet privately the following year and agree to stop airing their differences via the media.

Elsewhere, those moments of insecurity that led to darker ruminations ("Jealous Guy", "How")were beveled by their treatment with the addition of the Flux Fiddlers, beautifully rendered vocals and brilliant support from the cast of players. "Crippled Inside" takes up the mantle of finger pointing in the manner of mid-sixties Dylan (minus the brutal character assassination present in "How Do You Sleep?") and belies some of the hurt that was exposed on Plastic Ono Band. "I Don't Want to Be a Soldier" is ponderous. I would have given the elbow to this one in consideration for a spot, as it overstays its welcome at six minutes. Would have been fine as a B-side.

"Oh My Love" is sublime as sunrise over the ocean.

Everything else just clicks, from Lennon taking his unique rhythmic lead playing for a stroll through the bluesy "It's So Hard" to the whimsical, catchy "Oh Yoko", which closes out the set on a note of ebullience. Spector and Lennon harmonize, jokey harmonica plays into the fade and you're reminded of why the man was one half of the greatest songwriting duo of all time. Sense of humor is one of the key ingredients to attracting folks to your cause. That attribute would, sadly, be missing from his next endeavor. (Some Time in New York City)

How does Imagine hold up in 2017?

Quite well. While are a few reference points that are redolent of the time period, it remains one of his best solo efforts. The Utopian world view of the title track survives today as it neatly avoids a ham-fisted manifesto designed to bring about change. Instead, it is a simple, poetic suggestion that asks humankind to consider this. Well written, executed with speed and brilliance, it would also be his last uniformly excellent offering of the seventies. While there would be flashes of innovation (Mind Games) and a brief return of his muse with Walls and Bridges, neither were as consistent as Imagine.

You may say I'm a dreamer, but I'm not the only one...