[TR24][OF] John Lennon - Hi-Res Прижизненная Дискография (2010 Remasters-Reissue 2014) - 1970-1980 (Rock)

#77701-Give Peace A Chance
02-Cold Turkey (Single Version)
03-Instant Carma!
04-Power To The People
05-Happy X-mas (War Is Over)
06-Move Over Ms.L

Non-album and B-sides singles released between 1969-1975
http://www.hdtracks.com/john-lennon-signature-box

#77701 - Mother
02 - Hold On
03 - I Found Out
04 - Working Class Hero
05 - Isolation
06 - Remember
07 - Love
08 - Well Well Well
09 - Look At Me
10 - God
11 - My Mummy's Dead

John Lennon/Plastic Ono Band is the debut solo album by John Lennon. Produced by Lennon, Yoko Ono, and Phil Spector, the album was recorded at Abbey Road Studios and Ascot Sound Studios and used the same musicians and production team as Yoko Ono's album Yoko Ono/Plastic Ono Band. Considered to be one of Lennon's best solo albums, John Lennon/Plastic Ono Band was ranked at #23 by Rolling Stone magazine on their list of The 500 Greatest Albums of All Time.

Personnel:
John Lennon – lead and backing vocals, acoustic/electric guitars, piano/organ
Ringo Starr – drums
Klaus Voormann – bass
Phil Spector – piano on "Love"
Billy Preston – piano on "God"
Yoko Ono – "wind"
Mal Evans – "tea and sympathy"
http://www.hdtracks.com/plastic-ono-band

#77701 Imagine
02 Crippled Inside
03 Jealous Guy
04 It's So Hard
05 I Don't Wanna Be A Soldier Mama I Don't Want To Die
06 Gimme Some Truth
07 Oh My Love
08 How Do You Sleep?
09 How?
10 Oh Yoko!

John's first post-Beatles album, John Lennon/Plastic Ono Band, had emerged in late 1970 to critical praise but only muted approval in the marketplace. The conclusions were, to him, pretty obvious. He might be a trail-blazer in all kinds of ways, but he was at heart a populist - an artist but also an entertainer. The task was to frame his deas in music that listeners loved and took inside their hearts Plastic Ono Band had been admired, but often from a distance. The role of the next album - the record that became Imagine - was an attempt for maximum communication offering hopes to the bleeding, battered world.

On the musical level he certainly succeeded. Imagine is the best-loved album of his solo career, while its title track is perhaps his most revered. By contrast to its austere predecessor the new music had melodies in abundance, and colour and variety. It had flashes of broad humour and moments of absolute joy.

Personnel:
John Lennon — vocals, acoustic and electric guitars, piano; whistling on "Jealous Guy"; harmonica on "Oh Yoko"
George Harrison — electric and slide guitar on "I Don't Wanna Be a Soldier," "Gimme Some Truth," "Oh My Love," and "How Do You Sleep?"; dobro on "Crippled Inside"
Nicky Hopkins — piano; electric piano on "How Do You Sleep?"
Klaus Voormann — bass, upright bass
Alan White — drums on "Imagine," "Gimme Some Truth," "Oh My Love," "How Do You Sleep?," "How?," and "Oh Yoko!"; Tibetan cymbals on "Oh My Love"; vibraphone on "Jealous Guy"
Jim Keltner — drums on "Crippled Inside," "Jealous Guy," and "I Don't Wanna Be a Soldier"
Jim Gordon — drums on "It's So Hard"
King Curtis — saxophone on "It's So Hard" and "I Don't Wanna Be a Soldier"
John Barham — harmonium on "Jealous Guy"; vibraphone on "How?"
John Tout, Ted Turner, Rod Linton — acoustic guitars on "Crippled Inside"
Joey Molland, Tom Evans — acoustic guitars on "I Don't Wanna Be a Soldier"
Rod Linton, Andy Davis — acoustic guitars on "Gimme Some Truth" and "Oh Yoko!"
The Flux Fiddlers — orchestral strings
Phil Spector — backing vocals on "Oh Yoko!"
Michael Pinder — tambourine on "I Don't Wanna Be a Soldier"
Steve Brendell — upright bass on "Crippled Inside"; maracas on "I Don't Wanna Be a Soldier"

Production:
John Lennon
Yoko Ono
Phil Spector
This digital remaster of Imagine was transferred from Protools 192 kHz (Prism AD8) into an analogue EMI TG12410 desk, into Sadie at 96kHz/24bit.
http://www.hdtracks.com/lennon-imagine

#7771. Woman Is The Nigger Of The World
2. Sisters, O Sisters
3. Attica State
4. Born In A Prison
5. New York City
6. Sunday Bloody Sunday
7. The Luck Of The Irish
8. John Sinclair
9. Angela
10. We're All Water

Live Jam-1971
1. Cold Turkey
2. Don't Worry Kyoko
3. Well (Baby Please Don't Go)
4. JamRag
5. ScumBag
6. AU

Some Time In New York City was originally released in 1972 and is John Lennon's third post-Beatles solo album, as well as his fifth album with Yoko Ono. Produced by Phil Spector, the album did not fare as well as Lennon's two previous solo albums, John Lennon/Plastic Ono Band and Imagine.

Personnel:
John Lennon – guitars, vocals
Yoko Ono – vocals
Jim Keltner – drums, percussion

Elephant's Memory:
Stan Bronstein – saxophone, flute
Wayne 'Tex' Gabriel – guitar
Richard Frank Jr. – drums, percussion
Adam Ippolito – piano, organ
John La Boosca - piano
Gary Van Scyoc – bass guitar

The album was recorded between 1969 and 1971, with two sets of musicians.

December 15, 1969
John Lennon – guitar, vocal
Yoko Ono – bag, vocal

For everyone except himself and Yoko, John made up pseudonyms:

Eric Clapton ('Derek Claptoe') – guitar
Delaney & Bonnie ('Bilanie & Donnie') – guitar, percussion (and friends, brass, percussion)
Jim Gordon ('Jim Bordom') – drums
George Harrison ('George Harrisong') – guitar
Nicky Hopkins ('Sticky Topkins') – electric piano (overdubbed in N.Y. as organ was lost)
Bobby Keyes ('Robbie Knees') – sax
Keith Moon ('Kief Spoon') – drums
Billy Preston ('Billy Presstud') – organ
Klaus Voormann ('Raus Doorman') – base (sic)
Alan White ('Dallas White') – drums

June 6, 1971
John Lennon – guitar, vocals
Yoko Ono – bag, vocals
Aynsley Dunbar – drums
Bob Harris – keyboards, vocals
Howard Kaylan – vocals
Jim Pons – bass guitar, vocals
Don Preston – Mini-Moog
Ian Underwood – keyboard, vocals, woodwinds
Mark Volman – vocals
Klaus Voormann – bass guitar, vocals
Frank Zappa – guitar, vocals
http://www.hdtracks.com/sometime-in-new-york-city

#7771. Mind Games
2. Tight As
3. Aisumasen (I’m Sorry)
4. One Day (At A Time)
5. Bring On The Lucie (Freda People)
6. Nutopian International Anthem
7. Intuition
8. Out Of The Blue
9. Only People
10. I Know (I Know)
11. You Are Here
12. Meat City

John Lennon's Mind Games was recorded and released in 1973. The album was Lennon's first self-produced album and although it was initially poorly-received by critics, it was eventually met with favorable reviews. Mind Games reached #13 on the UK charts and #9 in the US, where it was also certified gold. Lennon wrote all of the songs for the album in one week, and the album was recorded in July and August of 1973.

Personnel:
John Lennon – lead, harmony and background vocals; rhythm, slide and acoustic guitar; clavinet and percussion.
Ken Ascher – piano, hammond organ and mellotron.
Jim Keltner – drums.
Rick Marotta – drums on "Meat City" with Jim Keltner.
Gordon Edwards – bass.
David Spinozza – lead guitar.
Arthur Jenkins – percussion
Sneaky Pete Kleinow – pedal steel guitar.
Michael Brecker – saxophone.
Something Different Choir – background vocals.
Roy Cicala, Dan Barbiero – engineers
Tom Rabstanek – mastering

This digital remaster of Mind Games was transferred from Protools 192 kHz (Prism AD8) into an analogue EMI TG12410 desk, into Sadie at 96kHz/24bit.
http://www.hdtracks.com/mind-games-202753

#7771. Going Down On Love
2. Whatever Gets You Thru The Night
3. Old Dirt Road
4. What You Got
5. Bless You
6. Scared
7. #9 Dream
8. Surprise Surprise (Sweet Bird Of Paradox)
9. Steel And Glass
10. Beef Jerky
11. Nobody Loves You (When You're Down And Out)
12. Ya Ya

By the summer of 1974, John had been living apart from Yoko for nearly a year. Quartered in Los Angeles as he entered a boisterous spell tagged "Lennon's Lost Weekend". He had mislaid his creative focus, too. There were chaotic attempts to record an album of rock'n'roll oldies with Phil Spector, party to forestall a lawsuit from one Morris Levy.

The Spector sessions collapsed, and the legendarily eccentric producer withdrew, taking the tapes with him. This "oldies" project quietly shelved, John consoled himself in the company of famous friends and a lover, May Pang, an assistant to the Lennons in New York. He arranged to produce an album for the great singer Harry Nilsson, called Pussy Cats. And slowly, amidst the turmoil, John regained his musical purpose.

One aspect of this recovery was a return to New York, the city that still connoted, for John, serious work and responsibility, unlike the rootless hedonism that beguiled him in LA. The Record Plant East was booked and work began on the fresh material John was amassing. Like its predecessor Mind Games, the new album would be self-produced. As to the musicians, among familiar names like Jim Keltner, Klaus Voormann and Nicky Hopkins was a host of Lennonesque pseudonyms (Dr. Winston O'Reggae, Rev. Fred Ghurkin, Booker Table & The Maitre D's, etc.) and a couple of luminary guests that included Nilsson and the hottest rock star of the moment, Elton John.

It was Elton who spotted the chart-topping potential of "Whatever Gets You Thru The Night", a storming track to which he contributes. Indeed, he won his friendly bet that this song would be Lennon's first solo Number 1 - for which his "price" would be a guest appearance by John at Elton's Madison Square Garden show. The album's second highlight is the mesmerising "#9 Dream", which is both a nod to John's abiding affinitywith that number and a brilliant evocation of the lucid state between sleep and awaking. Its untranslatable "Ah! Bowakawa poussé, poussé" is, in fact, a mysterious fragment from such a dream.

Those songs already nudge Walls And Bridges towards greatness but they are only two of many. There is the charming diversion "Surprise Surprise (Sweet Bird Of Paradox)", and that rarest of rarities, a Lennon instrumental, this one called "Beef Jerky". A fascinating curio is "Steel And Glass", so reminiscent of Imagine's "How Do You Sleep?", and plausibly assumed to be about John's estranged manager Allen Klein.

By far the biggest part of the album, though, is occupied by music of loss and loneliness. It is impossible not to characterise Walls And Bridges as "the Lost Weekend album". We are pointed to the thought that such unhappiness did, at least, give John a musical shot in the arm. Be that as it may, Walls And Bridges really is the great overlooked record of John Lennon's solo years.
Personnel:
John Lennon – arrangements, vocals (lead, harmony, and background), lead guitar, rhythm guitar, acoustic guitar, piano, whistling, percussion, production

Plastic Ono Nuclear Band:
Ken Ascher – electric piano, clavinet, Mellotron
Jim Keltner – drums
Arthur Jenkins – percussion
Nicky Hopkins – piano
Klaus Voormann – bass
Bobby Keys – tenor saxophone
Ron Aprea - tenor saxophone
Jesse Ed Davis – acoustic guitar, lead guitar
Eddie Mottau – acoustic guitar

Additional personnel:
Strings and brass musicians from The Philharmonic Orchestrange – arranged and conducted by Ken Ascher.
Little Big Horns – Ron Aprea (alto sax), Bobby Keys (tenor sax), Frank Vicari (tenor sax), Howard Johnson (baritone and bass sax) and Steve Madaio (trumpet).
Julian Lennon – drums on "Ya Ya".
Elton John – piano and harmony vocals on "Whatever Gets you thru the Night" and Hammond organ and background vocals on "Surprise, Surprise (Sweet Bird of Paradox)"
Harry Nilsson – backing vocals on "Old Dirt Road".
The 44th Street Fairies: Joey Dambra, Lori Burton and May Pang – background vocals on "#9 Dream".
Shelly Yakus – engineer
This digital remaster of Walls And Bridges was transferred from Protools 192 kHz (Prism AD8) into an analogue EMI TG12410 desk, into Sadie at 96kHz/24bit.
http://www.hdtracks.com/walls-and-bridges

#77701 - Be-Bop-A-Lula
02 - Stand By Me
03 - Rip It Up / Ready Teddy
04 - You Can't Catch Me
05 - Ain't That A Shame
06 - Do You Want To Dance
07 - Sweet Little Sixteen
08 - Slippin' And Slidin'
09 - Peggy Sue
10 - Bring It On Home To Me / Send Me Some Lovin'
11 - Bony Moronie
12 - Ya Ya
13 - Just Because

Rock’N’Roll has one of the strangest back-stories in music folklore. From its unpromising origins in a legal morass and months of drunken time-wasting, John rescued this sparkling tribute to the bygone era that he adored. Its tracks were all cover versions, and hardly the mass anthems or scarred confessionals Lennon was known for. Yet Rock’N’Roll was both revealing and delightful. These same tracks resurrected the leather-clad, greasy-quiffed Liverpool teenager who still lived inside John Lennon’s head.

It began from mixed motives. Living in LA and newly separated from Yoko, John sought diversion in the far-from-stabilising companyof his old producer Phil Spector. Pop culture by 1973 was increasingly fond of its own history, evidenced by films like American Graffiti and cover albums including Bryan Ferry’s These Foolish Things and David Bowie’s Pin Ups. Through an album of oldies, John believed he could dodge the pressure of expectations while indulging himself in some knockabout nostalgia.

More specifically, there was the problem of Morris Levy. One of John’s final numbers for The Beatles,‘Come Together’ off Abbey Road, was judged to resemble an old Chuck Berry track‘You Can’t Catch Me’, to which Mr Levy – a canny showbiz veteran – owned the copyright. He duly sued and, in settlement, it was agreed that John would make three new recordings of Levy assets. He next reasoned that such blasts-from-the-past would sit awkwardly on one of his regular albums. Thus an entire retro project was planned, with Phil Spector at the controls.

Once Spector was in the studio, the Wall Of Sound creator reverted to type. Far from the disciplined minimalism of John Lennon/Plastic Ono Band, and the tasteful restraint of Imagine, here were massed ranks of LA’s finest (and most expensive) session players, all in raucous assembly. John, by now embarked on the year of wild living that was dubbed his “Lost Weekend”, was scarcely in a state to restore order. October and December saw the recording sessions lurch drunkenly from one location to the next, with scandalously little to show for it.

Eventually the sessions collapsed. Phil Spector vanished and took the tapes with him. John examined his own predicament and began cleaning up his act. The first step was a return to NewYork, to produce Harry Nilsson’s album Pussy Cats. Newly inspired, he went straight on to his own Walls And Bridges, the classic document of his recent time in the wilderness. Capitol’s Al Coury, in the meanwhile, had secured those missing tapes from Phil Spector, but John was naturally too focussed on his new record to go there.

Walls And Bridges’ closing snippet, ‘Ya Ya’, an old Lee Dorsey hit and a Morris Levy copyright, was a weak attempt (summarily rejected) to stall the unresolved legal matter. With Levy impatient, John accepted the inevitable and took his Walls And Bridges crew back into Record Plant East to finish what he and Spector had started a year previously. Little remains, on the album we know as Rock’N’Roll, of those initial LA sessions. Little, in fact, was deemed salvageable.

In late October, 1974, John completed an album’s worth of material made famous by such heroes as Little Richard, Sam Cooke and of course Chuck Berry. (“If you tried to give rock’n’roll another name,” he once said on The Mike Douglas Show, “you might call it Chuck Berry”). Gene Vincent’s lascivious ‘Be-Bop-A-Lula’ was a song John had played on stage in 1957, at the church hall show where he first met Paul McCartney. Such music was, of course, the bedrock of The Beatles’ repertoire until John and Paul’s songwriting talents blossomed. Even so, homages to Chuck Berry, et al, would still pepper the band’s early albums.

Larry Williams was several times covered by The Beatles (‘Dizzy Miss Lizzy’ being one instance), but John had another reason to include ‘Bony Moronie’. He had performed it, with his first band The Quarrymen, on the only occasion his mother Julia witnessed him on stage. There was an even earlier memory of his mother in Fats Domino’s ‘Ain’t That A Shame’ – the first song he learned, he said; it was taught to him by Julia, on a banjo. Rock’N’Roll may have begun as a legal obligation, and turned into a fiasco, but it was finally a labour of love. Both affectionate and distanced, its style is not of the frenzied Cavern Club days, but of a man relaxing into the simple joy of playing his all-time favourite music. The beautiful cover portrait of John, taken by his Hamburg friend Jurgen Vollmer in 1961, encapsulates his reflective take on that distant time. In ‘Just Because’, John signs off the album with a mock-showbiz speech. He later guessed it was his sub-conscious farewell to the whole music world.

The album would appear in February, 1975, a mere five months after Walls And Bridges and a few weeks after a major turning point in his life – his reunion with Yoko.

Nowadays, Yoko can enjoy Rock’N’Roll as perhaps the most straightforward of all John’s solo records. “The album Rock’N’Roll is amazing,” she says. “He was not just somebody who came in from the cold to the rock world... like me. His musical roots were Fats Domino, Gene Vincent and Chuck Berry – while mine were Bach, Brahms, and Beethoven. Nobody can sing classic rock like John did. With this album, especially, he showed that he was one of the kings of Rock’n’Roll.”

All of a sudden, John’s life developed in several positive ways. The Beatles’ festering contract dispute was finally resolved. Things were looking up in that US visa case, as well. And most of all, he was invited back to the Dakota.

In October of 1975, the Lennons’ reunion produced the greatest blessing of their lives, in the form of baby Sean. Recalls Yoko: “The day before he was born, in other words on October 8th, we got the notice that John got the immigration Green Card. And Sean was born four hours later, early on the 9th. Oh, and that was John’s birthday too! So, all three happened 1, 2, 3. John had the biggest smile.”

He then decided that he will take care of the baby. Yoko should take care of the business end. “And no more Rock’N’Roll!”

That really was it, for five whole years. For the first time since he had formed The Beatles, John Lennon found time to be peaceful, to sit around, to watch the wheels. But the most shocking chapter in his story was still to be written.

This digital remaster of Rock 'N' Roll was transferred from Protools 192 kHz (Prism AD8) into an analogue EMI TG12410 desk, into Sadie at 96kHz/24bit.
http://www.hdtracks.com/lennon-rock-n-roll

#777Два релиза последнего альбома. Ремастер 2010 года оригинального издания и РЕМИКС (без редактирования голоса и мастеринга) 2013 года.

01. (Just Like) Starting Over
02. Kiss Kiss Kiss
03. Cleanup Time
04. Give Me Something
05. I'm Losing You
06. I'm Moving On
07. Beautiful Boy (Darling Boy)
08. Watching the Wheels
09. Yes, I'm Your Angel
10. Woman
11. Beautiful Boys
12. Dear Yoko
13. Every Man Has A Woman Who Loves Him
14. Hard Times Are Over

Released on two CDs 2010 and now available in hi-res, this release of Double Fantasy contains the digitally remastered version of the 1980 Double Fantasy album plus a never before released 'Stripped Down' version produced by Yoko Ono and Jack Douglas. Includes '(Just Like) Starting Over', 'Woman', 'Watching The Wheels', 'Beautiful Boy (Darling Boy)' and more.

Double Fantasy was recorded between July 7 and September 22, 1980 at The Hit Factory in New York City. The initial single "(Just Like) Starting Over" was released on October 20, 1980 and initially peaked at #7 in the US. After the death of John Lennon in December of 1980, the single reached #1 in both the US and UK. The album was released on November 17, 1980 on Geffen records. The initial critical response to Double Fantasy was mostly negative, although the album was later awarded Album of the Year in 1981, with the award being given to producer Jack Douglas and Yoko Ono.

Personnel:
John Lennon – lead, harmony and background vocals; rhythm and acoustic guitars; piano and keyboards; arranger and producer
Yoko Ono – lead and background vocals; arranger and producer
Jack Douglas – arranger and producer
Earl Slick – lead guitar
Hugh McCracken – lead guitar
Tony Levin – bass
George Small – keyboards
Andy Newmark – drums
Arthur Jenkins – percussion
Ed Walsh – Oberheim synthesizer
Robert Greenidge – steel drum on "Beautiful Boy"
Matthew Cunningham – hammer dulcimer on "Watching the Wheels"
Randy Stein – English concertina
Howard Johnson –horns
Grant Hungerford – horns
John Parran – horns
Seldon Powell – horns
George "Young" Opalisky – horns
Roger Rosenberg – horns
David Tofani – horns
Ronald Tooley – horns
Tony Davillo – horn arrangements and musical associate
Michelle Simpson, Cassandra Wooten, Cheryl Mason Jacks, Eric Troyer, Benny Cummings Singers, The Kings Temple Choir – background vocals
Toshihiro Hamaya – production assistant
Frederic Seaman – production assistant
Julie Last – assistant engineer
George Marino – original mastering and remastering
Lee DeCarlo – engineer
Jon Smith – assistant engineer
Anthony Davilio – musical associate
James A. Ball – assistant engineer

This digital remaster of Double Fantasy was transferred from Protools 192 kHz (Prism AD8) into an analogue EMI TG12410 desk, into Sadie at 96kHz/24bit.
http://www.hdtracks.com/double-fantasy-stripped-down

#7771. I'm Stepping Out
2. Sleepless Night
3. I Don't Wanna Face It
4. Don't Be Scared
5. Nobody Told Me
6. O'Sanity
7. Borrowed Time
8. Your Hands
9.(Forgive Me) My Little Flower Princess
10. Let Me Count The Way
11. Grow Old With Me
12. You're The One

Milk and Honey was released in 1984, nearly four years after John Lennon's death. It was created by John Lennon and Yoko Ono in the last months of Lennon's life, during and following the sessions for Double Fantasy. The album was assembled by Yoko Ono, and features a number of songs presented in their demo form.

Personnel:
John Lennon – guitar, keyboards, vocals
Yoko Ono – vocals
John Tropea – guitar
Earl Slick – guitar
Howard Johnson – horn
Jimmy Maelen – percussion
Elliott Randall – guitar
Gordon Grody – vocals
Billy Alessi – vocals
Bobby Alessi – vocals
Pete Cannarozzi – synthesizer
Andy Newmark – drums
Paul Griffin – drums
Neil Jason – bass
Arthur Jenkins – percussion
Tony Levin – bass
Steve Love – guitar
Hugh McCracken – guitar
Wayne Pedziwiatr – bass
George Small – keyboards
Peter Thom – vocals
Ed Walsh – keyboards
Kurt Yahjian – vocals
Consisting of songs John Lennon recorded during the Double Fantasy sessions, Milk and Honey was Lennon's first posthumous release. Originally intended as the follow-up to Double Fantasy, Yoko Ono didn't resume working on it for three years after Lennon's murder. Includes the worldwide top 10 hit single Nobody Told Me.

96 kHz / 24-bit* PCM - Yoko Ono Lennon Studio Masters.
*Source 44.1 kHz / 24-bit PCM. Mastered in 96 kHz / 24-bit
http://www.hdtracks.com/milk-and-honey

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1969:
1980/1994:
1969-1972
Singles Collection