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47件の合計評価、レビュー付き:27
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日本から
2013年10月25日に日本でレビュー済み
どういうわけかOk computerかKID A 以来、あるいはgorillazのdemon days以来、さっぱし音楽シーンを追うのをやめてしまったし、注目すべきアーティストもいない。新しいアルバムが出たら即買するようなアーティストもいなくなった。クロスビートは廃刊になるし、ロキノンにはおっさんしかいない。雑誌のレヴューコーナーの期待の新人とやらは、チャートから１年以内に消え去って、売れてるCDはアイドルばっかし。といってライヒや坂本のアルバムにも嫌気がさしたし、結局ジミヘンが今でも一番斬新だな・・・みたいな、感受性が疲れ果てた音楽好きにおすすめのアルバムです。
かなり、出来がいいです。コーネリアスやらなんやらかんやら、大量にクリエイターが参加していて、どういうことになっているのかは特にわかりませんが。この１曲ずつプロデューサを変えて、音的に幅を広げるっていうやり方は、foster the torchでも上手くいってて、ヨーコ・オノ１人では、前衛的すぎるのも、耳に優しくしてくれてます。I個人はやり過ぎのオノヨーコ的アルバムも好きですけど。
DAWが進歩して、音作りは１人、で出来る範囲が広がったおかげで、プロデューサーが作曲からマスタリング、エンジニアリングまですべて１人でやるってことが多くなりまして、アーティスト、フロントマン、シンガーも１つの楽器みたいにみなすようになりました。プロデューサーじゃなくて、コントローラーっていう感じですよね。コントローラーの才能が曲のすべてを決めるようになりました。それは良いことか悪いことかわかりませんが、年寄りのおっさんが、生録音で生音じゃなきゃダメ、サンプラーに頼りきってるクリエイターなんて全然ダメだ。みたいな断定をしてるのを聞くと、なるほどじゃあその逆こそ真なりだな、と思うわけです。天才はいつでも正しいとは限らないけれど、バカはいつでもバカです。
海外のレヴューを見ると、真っ二つにわかれてます、YOKOはレノンのビッチじゃなかったら、誰もこんなクソアルバムには注目しないっていう意見から、現代音楽シーン、の唯一の前衛、だって評価するヒト。それで良いのだと思います、文化ってそういうものでしょう？みんなにいいかっこするものでもないし。それ以上に何枚売れたかを競う金儲け競争でもない。
ライブもかなりすごかったです、アメリカのゴールデン番組で、歌詞を全部飛ばして、アメリカは戦争を止めて、武器を放棄せよ！ ピース！！ってずっとピースサインを出してました。今みたいに、平和！キレイ事いうなよしょーもな、っていわれる時代に、歌詞を全部変えて、武器を捨てろ、ピース！なんて出来る奴は今の世界にどれだけいますか？
どういうわけか放送事故ですよね、それって。でもなんでそれが放送事故なのかちゃんと説明出来るひとはいますか？
かなり、出来がいいです。コーネリアスやらなんやらかんやら、大量にクリエイターが参加していて、どういうことになっているのかは特にわかりませんが。この１曲ずつプロデューサを変えて、音的に幅を広げるっていうやり方は、foster the torchでも上手くいってて、ヨーコ・オノ１人では、前衛的すぎるのも、耳に優しくしてくれてます。I個人はやり過ぎのオノヨーコ的アルバムも好きですけど。
DAWが進歩して、音作りは１人、で出来る範囲が広がったおかげで、プロデューサーが作曲からマスタリング、エンジニアリングまですべて１人でやるってことが多くなりまして、アーティスト、フロントマン、シンガーも１つの楽器みたいにみなすようになりました。プロデューサーじゃなくて、コントローラーっていう感じですよね。コントローラーの才能が曲のすべてを決めるようになりました。それは良いことか悪いことかわかりませんが、年寄りのおっさんが、生録音で生音じゃなきゃダメ、サンプラーに頼りきってるクリエイターなんて全然ダメだ。みたいな断定をしてるのを聞くと、なるほどじゃあその逆こそ真なりだな、と思うわけです。天才はいつでも正しいとは限らないけれど、バカはいつでもバカです。
海外のレヴューを見ると、真っ二つにわかれてます、YOKOはレノンのビッチじゃなかったら、誰もこんなクソアルバムには注目しないっていう意見から、現代音楽シーン、の唯一の前衛、だって評価するヒト。それで良いのだと思います、文化ってそういうものでしょう？みんなにいいかっこするものでもないし。それ以上に何枚売れたかを競う金儲け競争でもない。
ライブもかなりすごかったです、アメリカのゴールデン番組で、歌詞を全部飛ばして、アメリカは戦争を止めて、武器を放棄せよ！ ピース！！ってずっとピースサインを出してました。今みたいに、平和！キレイ事いうなよしょーもな、っていわれる時代に、歌詞を全部変えて、武器を捨てろ、ピース！なんて出来る奴は今の世界にどれだけいますか？
どういうわけか放送事故ですよね、それって。でもなんでそれが放送事故なのかちゃんと説明出来るひとはいますか？
他の国から
Graham Reid
A Yoko album worth reconsidering
2019年9月17日に米国でレビュー済み
As endearing as it is idiosyncratic, as brilliant as it is bonkers, Yoko Ono's 2013 album Take Me to The Land of Hell (with the Plastic Ono Band) mostly served to remind what a unique artist she has always been . . . whether you like what she does or simply never listened.
After the forgettable aural postcards with her husband John Lennon in the late Sixties when they were clowns for headlines and world peace, she emerged with the extraordinary, visceral, sensual and astonishing Yoko Ono Plastic Ono Band album in '70. It has long been an Essential Elsewhere album.
Thereafter followed Fly ('71), Approximately Infinite Universe ('72) and Feeling the Space ('73), all of them – especially the first two – worth hearing.
Then things fell apart: Lennon was shot, she pieced together a life and some recordings (Season of Glass in '81 and It's Alright in '82) but her music career – if she ever really had one – crashed and burned with the dire, Bill Laswell-produced, guest-heavy Starpeace (good single and video in Hell in Paradise though) in '85.
She retreated from recording for a decade and returned with excellent and innovative Rising ('95). A year later the Rising Mixes album arrived with Ween, Tricky, Thurston Moore, Adam Yauch and others remixing her material.
What that latter album – and the subsequent Yes, I'm a Witch – proved is that Ono's material really lent itself to remixes.
On Witch, the remixers included Peaches, Le Tigre, DJ Spooky, Apples in Stereo, Flaming Lips and others.
Her collaborators and co-producer probably realise her voice is going to either be the commanding focus (when she screams and yelps) or a distraction (when she wobbles through ballads) so they nail down the bottom end of beats and some crosscut guitars or keyboards.
Take Me to The Land of Hell was a typical Ono album as it veered between raw emotions, her unusually refined poetry about Nature and simplistic utopian politics, ballads sung in her quivering voice (she was 79 at the time) and – as had been the case from Feeling the Space onward – a huge cast of supporters, among them her son Sean who was now Plastic Ono Band's musical director/multi-instrumentalist and co-producer with Ono and Yuka C Honda.
As Rolling Stone observed, “Guesting on a Yoko Ono LP has become like getting cast in a Woody Allen film: an artistic validation and New York City-branded right of passage. It’s also clearly a hoot”.
That last reference might be to her musical hall hoofer turn on the Thirties-styled Leaving Tim with honky piano by Thomas Bartlett, a style she often adopted.
Among the players are guitarists Nels Cline, Lenny Kravitz (on drums), Beastie Boys Adam Horovitz and Adam D (beats and programming), cellist Erik Friedlander (who also did the string arrangements) and more . . .
It opens with what could be birds shrieking, her shrieking or something akin to Bernard Herrmann's stabbing strings Psycho but then winds down into her spoken word Moonbeams over a gentle landscape of guitars and synths before it explodes into thrilling guitar thrash and her agonising yowl: “My heart is ruminating your sweet words, while my hands are skinning birds . . .”
And Cheshire Cat Cry which follows is a dense funky thump with Kravitz and Sean on guitar which sonically reaches right back to her Plastic Ono Band album: “We the expendable people of the United States hold these dreams to be self-destructive . . . stop the violence, stop all wars”.
Much of this album is truly avant-rock mixed with staccato dance (Tabetai which begs a remix) but there's also humour here. On Bad Dancer with those Beasties she giggles about being lousy on the dancefloor but “when your heart is dancing your mind is bouncing” and again you can hear a remix coming at you.
Although none from this album appeared on the remix album Yes, I'm a Witch Too three years later.
Still, there's time . . . even for a 86-year old who has no qualms about creating challenging avant-guitar rock, electro-dance songs (7thFloor which is a less aggressive sliver from the Walking on Thin Ice template, the brittle grind of Shine Shine), deep and dark mood-funk (the disconcerting Little Boy Blue Your Daddy's Gone), piano ballads (the dramatic title track), seemingly kissing off a new lover with a spring in her step (Leaving Tim) and having a painful orgasm.
On the challenging, flawed but memorable Take Me to The Land of Hell the singular Yoko Ono didn't resile from being exactly who she always was.
Uncategorisable.
There is much more on Yoko with interviews at https://www.elsewhere.co.nz/search/?q=yoko+ono&type=phrase
After the forgettable aural postcards with her husband John Lennon in the late Sixties when they were clowns for headlines and world peace, she emerged with the extraordinary, visceral, sensual and astonishing Yoko Ono Plastic Ono Band album in '70. It has long been an Essential Elsewhere album.
Thereafter followed Fly ('71), Approximately Infinite Universe ('72) and Feeling the Space ('73), all of them – especially the first two – worth hearing.
Then things fell apart: Lennon was shot, she pieced together a life and some recordings (Season of Glass in '81 and It's Alright in '82) but her music career – if she ever really had one – crashed and burned with the dire, Bill Laswell-produced, guest-heavy Starpeace (good single and video in Hell in Paradise though) in '85.
She retreated from recording for a decade and returned with excellent and innovative Rising ('95). A year later the Rising Mixes album arrived with Ween, Tricky, Thurston Moore, Adam Yauch and others remixing her material.
What that latter album – and the subsequent Yes, I'm a Witch – proved is that Ono's material really lent itself to remixes.
On Witch, the remixers included Peaches, Le Tigre, DJ Spooky, Apples in Stereo, Flaming Lips and others.
Her collaborators and co-producer probably realise her voice is going to either be the commanding focus (when she screams and yelps) or a distraction (when she wobbles through ballads) so they nail down the bottom end of beats and some crosscut guitars or keyboards.
Take Me to The Land of Hell was a typical Ono album as it veered between raw emotions, her unusually refined poetry about Nature and simplistic utopian politics, ballads sung in her quivering voice (she was 79 at the time) and – as had been the case from Feeling the Space onward – a huge cast of supporters, among them her son Sean who was now Plastic Ono Band's musical director/multi-instrumentalist and co-producer with Ono and Yuka C Honda.
As Rolling Stone observed, “Guesting on a Yoko Ono LP has become like getting cast in a Woody Allen film: an artistic validation and New York City-branded right of passage. It’s also clearly a hoot”.
That last reference might be to her musical hall hoofer turn on the Thirties-styled Leaving Tim with honky piano by Thomas Bartlett, a style she often adopted.
Among the players are guitarists Nels Cline, Lenny Kravitz (on drums), Beastie Boys Adam Horovitz and Adam D (beats and programming), cellist Erik Friedlander (who also did the string arrangements) and more . . .
It opens with what could be birds shrieking, her shrieking or something akin to Bernard Herrmann's stabbing strings Psycho but then winds down into her spoken word Moonbeams over a gentle landscape of guitars and synths before it explodes into thrilling guitar thrash and her agonising yowl: “My heart is ruminating your sweet words, while my hands are skinning birds . . .”
And Cheshire Cat Cry which follows is a dense funky thump with Kravitz and Sean on guitar which sonically reaches right back to her Plastic Ono Band album: “We the expendable people of the United States hold these dreams to be self-destructive . . . stop the violence, stop all wars”.
Much of this album is truly avant-rock mixed with staccato dance (Tabetai which begs a remix) but there's also humour here. On Bad Dancer with those Beasties she giggles about being lousy on the dancefloor but “when your heart is dancing your mind is bouncing” and again you can hear a remix coming at you.
Although none from this album appeared on the remix album Yes, I'm a Witch Too three years later.
Still, there's time . . . even for a 86-year old who has no qualms about creating challenging avant-guitar rock, electro-dance songs (7thFloor which is a less aggressive sliver from the Walking on Thin Ice template, the brittle grind of Shine Shine), deep and dark mood-funk (the disconcerting Little Boy Blue Your Daddy's Gone), piano ballads (the dramatic title track), seemingly kissing off a new lover with a spring in her step (Leaving Tim) and having a painful orgasm.
On the challenging, flawed but memorable Take Me to The Land of Hell the singular Yoko Ono didn't resile from being exactly who she always was.
Uncategorisable.
There is much more on Yoko with interviews at https://www.elsewhere.co.nz/search/?q=yoko+ono&type=phrase
A Yoko album worth reconsidering
2019年9月17日に米国でレビュー済み
As endearing as it is idiosyncratic, as brilliant as it is bonkers, Yoko Ono's 2013 album Take Me to The Land of Hell (with the Plastic Ono Band) mostly served to remind what a unique artist she has always been . . . whether you like what she does or simply never listened.2019年9月17日に米国でレビュー済み
After the forgettable aural postcards with her husband John Lennon in the late Sixties when they were clowns for headlines and world peace, she emerged with the extraordinary, visceral, sensual and astonishing Yoko Ono Plastic Ono Band album in '70. It has long been an Essential Elsewhere album.
Thereafter followed Fly ('71), Approximately Infinite Universe ('72) and Feeling the Space ('73), all of them – especially the first two – worth hearing.
Then things fell apart: Lennon was shot, she pieced together a life and some recordings (Season of Glass in '81 and It's Alright in '82) but her music career – if she ever really had one – crashed and burned with the dire, Bill Laswell-produced, guest-heavy Starpeace (good single and video in Hell in Paradise though) in '85.
She retreated from recording for a decade and returned with excellent and innovative Rising ('95). A year later the Rising Mixes album arrived with Ween, Tricky, Thurston Moore, Adam Yauch and others remixing her material.
What that latter album – and the subsequent Yes, I'm a Witch – proved is that Ono's material really lent itself to remixes.
On Witch, the remixers included Peaches, Le Tigre, DJ Spooky, Apples in Stereo, Flaming Lips and others.
Her collaborators and co-producer probably realise her voice is going to either be the commanding focus (when she screams and yelps) or a distraction (when she wobbles through ballads) so they nail down the bottom end of beats and some crosscut guitars or keyboards.
Take Me to The Land of Hell was a typical Ono album as it veered between raw emotions, her unusually refined poetry about Nature and simplistic utopian politics, ballads sung in her quivering voice (she was 79 at the time) and – as had been the case from Feeling the Space onward – a huge cast of supporters, among them her son Sean who was now Plastic Ono Band's musical director/multi-instrumentalist and co-producer with Ono and Yuka C Honda.
As Rolling Stone observed, “Guesting on a Yoko Ono LP has become like getting cast in a Woody Allen film: an artistic validation and New York City-branded right of passage. It’s also clearly a hoot”.
That last reference might be to her musical hall hoofer turn on the Thirties-styled Leaving Tim with honky piano by Thomas Bartlett, a style she often adopted.
Among the players are guitarists Nels Cline, Lenny Kravitz (on drums), Beastie Boys Adam Horovitz and Adam D (beats and programming), cellist Erik Friedlander (who also did the string arrangements) and more . . .
It opens with what could be birds shrieking, her shrieking or something akin to Bernard Herrmann's stabbing strings Psycho but then winds down into her spoken word Moonbeams over a gentle landscape of guitars and synths before it explodes into thrilling guitar thrash and her agonising yowl: “My heart is ruminating your sweet words, while my hands are skinning birds . . .”
And Cheshire Cat Cry which follows is a dense funky thump with Kravitz and Sean on guitar which sonically reaches right back to her Plastic Ono Band album: “We the expendable people of the United States hold these dreams to be self-destructive . . . stop the violence, stop all wars”.
Much of this album is truly avant-rock mixed with staccato dance (Tabetai which begs a remix) but there's also humour here. On Bad Dancer with those Beasties she giggles about being lousy on the dancefloor but “when your heart is dancing your mind is bouncing” and again you can hear a remix coming at you.
Although none from this album appeared on the remix album Yes, I'm a Witch Too three years later.
Still, there's time . . . even for a 86-year old who has no qualms about creating challenging avant-guitar rock, electro-dance songs (7thFloor which is a less aggressive sliver from the Walking on Thin Ice template, the brittle grind of Shine Shine), deep and dark mood-funk (the disconcerting Little Boy Blue Your Daddy's Gone), piano ballads (the dramatic title track), seemingly kissing off a new lover with a spring in her step (Leaving Tim) and having a painful orgasm.
On the challenging, flawed but memorable Take Me to The Land of Hell the singular Yoko Ono didn't resile from being exactly who she always was.
Uncategorisable.
There is much more on Yoko with interviews at https://www.elsewhere.co.nz/search/?q=yoko+ono&type=phrase
このレビューの画像
3人のお客様がこれが役に立ったと考えています
Gabriel Ayax
¿Yoko Ono? ¡Discazo a sus 83 años!
2019年12月8日にメキシコでレビュー済み
Es hora de quitarse de prejuicios y disfrutar un trabajo sólido, emotivo y equilibrado. Lo que sea que se diga de esta artista es falso.
Yoko Ono, a sus 83 años, grabó un disco admirable. Los trece cortes del álbum hacen un viaje desde los beats de un ritmo funk adictivo ("Moonbeams", "Tabetai", "Shine, Shine"), a piezas evocativas y desgarradoras ("Little Boy Blue your Daddy's Gone", "There's No Goodbye Between Us", "Take me to the Land of Hell" y "Watching the Dawn".)
Pianos, ambientes sintetizados, cellos y melófonos dan al disco entero un tapiz sonoro amplio y orgánico. Las letras de Yoko Ono, tanto como sus interpretaciones, despiertan emociones profundas. Éste es uno de los mejores trabajos, en los que apuesta por construir una placa honesta y desgarradora, sin renunciar a la exploración sonora, bien aplicada en piezas emocionales.
Yoko Ono, a sus 83 años, grabó un disco admirable. Los trece cortes del álbum hacen un viaje desde los beats de un ritmo funk adictivo ("Moonbeams", "Tabetai", "Shine, Shine"), a piezas evocativas y desgarradoras ("Little Boy Blue your Daddy's Gone", "There's No Goodbye Between Us", "Take me to the Land of Hell" y "Watching the Dawn".)
Pianos, ambientes sintetizados, cellos y melófonos dan al disco entero un tapiz sonoro amplio y orgánico. Las letras de Yoko Ono, tanto como sus interpretaciones, despiertan emociones profundas. Éste es uno de los mejores trabajos, en los que apuesta por construir una placa honesta y desgarradora, sin renunciar a la exploración sonora, bien aplicada en piezas emocionales.
1人のお客様がこれが役に立ったと考えています
FAMOUS NAME
ANOTHER GEM FROM THIS GREAT LADY OF ART!!!
2014年10月5日に英国でレビュー済み
My review for this album to me feels so very lame after my enormous praise and all I said for Yoko's last FANTASTIC piece of work `Beneath My Head And The Sky'! (see my review for that title) Because it's all basically been said... But just when I thought Yoko had probably reached her peak with that last album (about FIFTY years or so after everybody else may reach theirs!) with what I believed at the time to be her greatest and probably unmatchable album, I now have to eat a lot of humble pie!! I'm simply blown away and lost for new words to describe this, her follow up - what a masterpiece for artwork and talent has gone into this gem! How does that woman do it!?? Yoko has her own unique style which we all who love her know to be her trademark - but that's where the similarity ends here; for this is a SO off in an even greater type and much more poetic direction than any of her previous albums, in a way you couldn't possibly imagine... Where does this GREAT lady keep getting these new and GREAT ideas!?? Most people have dried up with regards to new ideas long before they reach Yoko's age, whereas Yoko just keeps coming back with the goods and all new stuff again and again! This album is SOOO beautiful, and I challenge anybody to not feel the same, and to not like and enjoy this gorgeous piece of work on first listening - even those who are not into her music at all! The instant (and I do mean the VERY instant) I'd heard the final track the first time I played it - I just HAD to play it again right away!
The lyrics to all Yoko's songs are SO meaningful, and will connect with everyone. Yoko's words are very important to her style of music, (unlike some artists) and people who listen to them will be aware of this in an instant! Sometimes amusing; sometimes sad - yet happy, but most of all, poignant, meaningful and reflective, without becoming `stuck' and boring.
It's been said over and over how Yoko was way ahead of her time in the sixties, and I guess this is borne out by the fact she's still getting into the recording studios half a centaury after the first time she did (and not as a young woman then I might add!) and remaining `cool' - even with the modern and younger generation who all admire and want to work with her - and in a different century too! She's constantly building up a new fan-base all of the time - whilst still retaining us loyal ones who have been there with her from the very start! John would be SOOO proud of his wife! How many other artists would it be `cool' to listen to and purchase records produced by someone in their mid eighties!?? Exactly; no-one at all...
Go on; get to know Yoko's work if you've never tried it - and treat yourself to her latest album if you have - none of you will regret it!
A MILLION stars! (I also bought this on vinyl!)
The lyrics to all Yoko's songs are SO meaningful, and will connect with everyone. Yoko's words are very important to her style of music, (unlike some artists) and people who listen to them will be aware of this in an instant! Sometimes amusing; sometimes sad - yet happy, but most of all, poignant, meaningful and reflective, without becoming `stuck' and boring.
It's been said over and over how Yoko was way ahead of her time in the sixties, and I guess this is borne out by the fact she's still getting into the recording studios half a centaury after the first time she did (and not as a young woman then I might add!) and remaining `cool' - even with the modern and younger generation who all admire and want to work with her - and in a different century too! She's constantly building up a new fan-base all of the time - whilst still retaining us loyal ones who have been there with her from the very start! John would be SOOO proud of his wife! How many other artists would it be `cool' to listen to and purchase records produced by someone in their mid eighties!?? Exactly; no-one at all...
Go on; get to know Yoko's work if you've never tried it - and treat yourself to her latest album if you have - none of you will regret it!
A MILLION stars! (I also bought this on vinyl!)
4人のお客様がこれが役に立ったと考えています
Connak
Yoko Ono- still active at 80
2013年9月29日に米国でレビュー済み
Many things have been said about Yoko Ono over the years. For some, she is seen as the person responsible for the split of the Beatles as she was the wife of John Lennon. Some deem her as controlling and simply cashing in on her late husband. For others, Yoko Ono is seen as an amazing artist. When it comes to her musical career, some critics have gone as far as saying that she was ahead of her, influencing artists such as the B52's and Lene Lovich. Ono's latest album, Take Me to the Land of Hell, sees her at it again with her son Sean Lennon and the revamped Plastic Ono Band. This is Ono's first studio album since 2009's Between My Head and the Sky. Even at 80 years old, Ono has made an album that sounds very modern.
For this album, Ono has collaborated with artists who are familiar with electronic music. In recent years, Ono has been able to nab several #1 hits in the Billboard Dance Charts. The collaborations actually pay off. Even with the collaborations, it still sounds like a Yoko Ono album. Ono's genre of music would be best described as experimental rock or avant garde, which this album certainly is.
The album's opener, "Moonbeams", isn't the strongest song but it opens the album perfectly: the futuristic sounds mixed in with Ono's spoken word poetry sets you up for what you're about to hear. Once you hear Ono's traditional scream, you know what you're in for. This is followed by the pleasantly psychedelic "Cheshire Cat". It has an impressive bass line that drives the entire song in this stoner rock rhythm. "Tabetai" is collaboration with tUnE-yArDs and it's a very good one: the track is catchy and has great drumming/percussion work. The most interesting of the collaborations would have to be the bouncy "Bad Dancer", which features the surviving members of the Beastie Boys. I really like this one and the strangest thing is that I have no interest in the Beastie Boys whatsoever.
Ono also has the chance to shine with several ballads. The self-titled track and "Watching the Dawn" have pretty melodies. The former uses violins while the latter is piano-oriented. While Ono isn't known for having the greatest voice, she knows how to use it when it comes to ballads. It isn't much but I think she knows it works. Ono leaves time on the album for the autobiographical "NY Noodle Town", the funky spoken word "7th Floor" and the surprisingly jazzy "Leaving Tim".
Overall, Take Me to the Land of Hell is a very good album from Yoko Ono. It's impressive that she can pull this off at her age. However, I can't say I'd recommend the album. Obviously, Yoko's music isn't for everyone. I'd say if you happen to appreciate some experimental music (i.e. Frank Zappa, Captain Beefheart, and/or Tom Waits), give Yoko's music a chance. If you're already a fan of Yoko's music, this is a no brainer: you must get it.
For this album, Ono has collaborated with artists who are familiar with electronic music. In recent years, Ono has been able to nab several #1 hits in the Billboard Dance Charts. The collaborations actually pay off. Even with the collaborations, it still sounds like a Yoko Ono album. Ono's genre of music would be best described as experimental rock or avant garde, which this album certainly is.
The album's opener, "Moonbeams", isn't the strongest song but it opens the album perfectly: the futuristic sounds mixed in with Ono's spoken word poetry sets you up for what you're about to hear. Once you hear Ono's traditional scream, you know what you're in for. This is followed by the pleasantly psychedelic "Cheshire Cat". It has an impressive bass line that drives the entire song in this stoner rock rhythm. "Tabetai" is collaboration with tUnE-yArDs and it's a very good one: the track is catchy and has great drumming/percussion work. The most interesting of the collaborations would have to be the bouncy "Bad Dancer", which features the surviving members of the Beastie Boys. I really like this one and the strangest thing is that I have no interest in the Beastie Boys whatsoever.
Ono also has the chance to shine with several ballads. The self-titled track and "Watching the Dawn" have pretty melodies. The former uses violins while the latter is piano-oriented. While Ono isn't known for having the greatest voice, she knows how to use it when it comes to ballads. It isn't much but I think she knows it works. Ono leaves time on the album for the autobiographical "NY Noodle Town", the funky spoken word "7th Floor" and the surprisingly jazzy "Leaving Tim".
Overall, Take Me to the Land of Hell is a very good album from Yoko Ono. It's impressive that she can pull this off at her age. However, I can't say I'd recommend the album. Obviously, Yoko's music isn't for everyone. I'd say if you happen to appreciate some experimental music (i.e. Frank Zappa, Captain Beefheart, and/or Tom Waits), give Yoko's music a chance. If you're already a fan of Yoko's music, this is a no brainer: you must get it.
14人のお客様がこれが役に立ったと考えています
Andy Sweeney
Hellishly good!
2013年10月3日に英国でレビュー済み
What a great album.
I realise that this isn't a very fashionable view and it's much easier to make Yoko a figure of fun than to review her work seriously, but the world's general view about Yoko Ono and her creative output are usually quite unfair. She and the people she surrounds herself with (such as son Sean, Yuka Honda and all her special guests such as Questlove and Lenny Kravitz) are fantastic musicians and true artists who are focused on nothing other than creating challenging, thoughtful material. This enjoyable piece of work is a continuation of a particularly rich run of form and "Take Me To The Land Of Hell" is an eclectic, creative, brilliant album. The rhythms, instrumentation, lyrics and beats are as inspired and vital as any other album released this year, much more so than most of the mainstream artists you will hear on contemporary radio.
Let's face it, Yoko's quite an incredible lady. Eighty years old, continuing to make music, working with artists half a decade younger than her and she's to continuing to push the boundaries and produce original, engaging music. It's probably disrespectful to describe her as being a bit bonkers, but every great artist sees the world in an individual way and interprets and expresses it in a manner that interests and challenges their audience, so the fact that Yoko continually surprises and amuses is a completely good thing. Of course, Sean Ono Lennon is one of the major creative forces behind this album and he has yet to receive the critical and artistic praise his talents deserve, but I am sure that his ability, craftsmanship and artistry will be recognised in years to come.
There's a nice mix of upbeat songs and more measured numbers, with dance music, avant-garde rock and emotional ballads on offer. Yoko's voice can be quite divisive amongst listeners, but I prefer to enjoy what she does with what she's been gifted with and to listen to what she's saying and how she's delivering it, rather than focusing on her technical ability. I'm not going to claim that this is the best album I've heard all year, but it's certainly one of the most interesting and if you're interested enough in Yoko's work to be reading this review, then you should take a chance because you will probably enjoy this album a lot more than you'd expect to. I've spent my life listening to people knocking Ono for so many reasons and, although I haven't always enjoyed all of her work, she is currently making music that not only holds its own alongside most contemporary artists, but teaches them a thing or two as well.
Highly recommended.
I realise that this isn't a very fashionable view and it's much easier to make Yoko a figure of fun than to review her work seriously, but the world's general view about Yoko Ono and her creative output are usually quite unfair. She and the people she surrounds herself with (such as son Sean, Yuka Honda and all her special guests such as Questlove and Lenny Kravitz) are fantastic musicians and true artists who are focused on nothing other than creating challenging, thoughtful material. This enjoyable piece of work is a continuation of a particularly rich run of form and "Take Me To The Land Of Hell" is an eclectic, creative, brilliant album. The rhythms, instrumentation, lyrics and beats are as inspired and vital as any other album released this year, much more so than most of the mainstream artists you will hear on contemporary radio.
Let's face it, Yoko's quite an incredible lady. Eighty years old, continuing to make music, working with artists half a decade younger than her and she's to continuing to push the boundaries and produce original, engaging music. It's probably disrespectful to describe her as being a bit bonkers, but every great artist sees the world in an individual way and interprets and expresses it in a manner that interests and challenges their audience, so the fact that Yoko continually surprises and amuses is a completely good thing. Of course, Sean Ono Lennon is one of the major creative forces behind this album and he has yet to receive the critical and artistic praise his talents deserve, but I am sure that his ability, craftsmanship and artistry will be recognised in years to come.
There's a nice mix of upbeat songs and more measured numbers, with dance music, avant-garde rock and emotional ballads on offer. Yoko's voice can be quite divisive amongst listeners, but I prefer to enjoy what she does with what she's been gifted with and to listen to what she's saying and how she's delivering it, rather than focusing on her technical ability. I'm not going to claim that this is the best album I've heard all year, but it's certainly one of the most interesting and if you're interested enough in Yoko's work to be reading this review, then you should take a chance because you will probably enjoy this album a lot more than you'd expect to. I've spent my life listening to people knocking Ono for so many reasons and, although I haven't always enjoyed all of her work, she is currently making music that not only holds its own alongside most contemporary artists, but teaches them a thing or two as well.
Highly recommended.
21人のお客様がこれが役に立ったと考えています
Jokie X Wilson
One of Her Best Yet!!! <3
2013年10月27日に米国でレビュー済み
I adore this album! It never ceases to amaze me how Yoko can manage to find new forms of music into which she can inject her ideas. As a matter of fact, she seems to specialize in working with forms not necessarily associated with deep thoughts. Who but her would think to combine conceptual art and dance music? While I don't mean to suggest that no other artist has ever put an idea of importance to a dance beat, Yoko really takes it to a new level!
Further, this album makes use of a variety of styles of music, something that is not so common these days. Instead of the same thing from beginning to end, one song you get a ballad and the next you are boogieing to some heart thumping beats! I love the humor and the occasional giggles. The music rocks hard at times and almost whispers other times. It has a consistent spacey feel that works both as a club sound and as relaxing chill to which you can imagine beautiful things.
I must also add that Yoko gives class to aging. If you've still got it, there's no reason to stop! I hope that she inspires others to keep going and making being an elder woman cool! She provides wisdom both in her lyrics and music. Her current sound connects past, present, and future into an eye and mind opening experience!
Further, this album makes use of a variety of styles of music, something that is not so common these days. Instead of the same thing from beginning to end, one song you get a ballad and the next you are boogieing to some heart thumping beats! I love the humor and the occasional giggles. The music rocks hard at times and almost whispers other times. It has a consistent spacey feel that works both as a club sound and as relaxing chill to which you can imagine beautiful things.
I must also add that Yoko gives class to aging. If you've still got it, there's no reason to stop! I hope that she inspires others to keep going and making being an elder woman cool! She provides wisdom both in her lyrics and music. Her current sound connects past, present, and future into an eye and mind opening experience!
14人のお客様がこれが役に立ったと考えています
steve_manassas
A surprisingly good album from Yoko
2013年10月2日に米国でレビュー済み
I enjoyed Yoko's new album, though it took a second listen to finally "get it." The album contains songs in a wide variety of styles, and features Yoko's singing, trademark wailing, several spoken-word pieces, and 15 seconds of silence at the end ("Hawk's Call"). My favorite tracks are the title track, "Bad Dancer," "Little Boy Blue," "There's No Goodbye," "N.Y. Noodle Town," "Watching The Dawn," "Shine, Shine," and the vaudeville-style "Leaving Tim." The album's chief weakness is that the arrangements are too monotonous; some additional orchestration would have helped, especially on the ballads.
While I don't always agree with Yoko's worldview, and find some of her activities a little strange, it's amazing how much energy she has at age 80 - well past retirement age for most folks. My hat's off to her (and no, for the umpteenth time, she did NOT break up The Beatles). While Yoko's music is definitely an acquired taste, and is clearly not for everyone, this CD is a "must-have" for Yoko fans.
While I don't always agree with Yoko's worldview, and find some of her activities a little strange, it's amazing how much energy she has at age 80 - well past retirement age for most folks. My hat's off to her (and no, for the umpteenth time, she did NOT break up The Beatles). While Yoko's music is definitely an acquired taste, and is clearly not for everyone, this CD is a "must-have" for Yoko fans.
7人のお客様がこれが役に立ったと考えています
michael d.
Yoko is a musical artist!
2014年1月1日に米国でレビュー済み
I own all her stuff. She is great. Not all of her stuff is of the same musical quality. Some of it is art on cd---like her three albums with John (not my favorite stuff). Others are straight forward in your face feminism with solid music ( great stuff). Some of it is heartfelt and painful (good stuff). There is the more recent dance stuff (nice to get lost in). The last two cd's are attempts to bring back the mood of the Ono Band from the early days. I prefer Between My Head and the Sky. However, Take Me to the Land of Hell has its moments. On guitar for both cd's is Sean, and he plays in his father's Ono Band fashion on multiple songs. If you enjoy Yoko, buy it. If you are just curious, start with a different cd. If you don't like her stuff, then skip it.
9人のお客様がこれが役に立ったと考えています
