| 1. |
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Mother |
| 2. |
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Hold On |
| 3. |
|
I Found Out |
| 4. |
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Working Class Hero |
| 5. |
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Isolation |
| 6. |
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Remember |
| 7. |
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Love |
| 8. |
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Well, Well, Well |
| 9. |
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Look at Me |
| 10. |
 |
God |
| 11. |
 |
My Mummy's Dead |
| 12. |
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Power to the People |
| 13. |
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Do the Oz |
|
(Thanks to Harry Bluebond)
"It was the call everybody in my business waits for."
Phil Nicolo was talking aboaut being tapped to handle the remixing of "Do the Oz" for
the John Lennon-Plastic Ono Band reissue.
Nicolo helped produce the 1999 Cibo Matto LP Stereotype A which
featured Sean Lennon on bass guitar. From there, he became involved
in the still-in-progress second solo album by Sean.
Yoko had not attended the sessions, but liked the direction Nicolo was
helping Sean bring his music to. Nicolo told Philadelphia News music
reporter, Tom Moon: "(Yoko's) in a tricky position with the
fans, especially when it comes to unreleased stuff: People are really
curious, but in that 'let-me-see - no, don't show me' way."
Nicolo was working in his studio last summer when Yoko phoned him to tell
him that she had rediscovered a track that the Plastic Ono Band had
recorded on April 17, 1970. "Do the Oz" was a benefit for
a British underground publication called the Oz. Yoko was putting
together reissues of John's first and last solo records, "Plastic Ono
Band" and "Double Fantasy" - and wanted to include
"Oz" as a bonus track. The song had been released
previously, but it had been assembled quickly and wasn't fully finished.
Nicolo said the only stipulation Yoko made was that he not add anything to
the existing tracks which he was assembling from the original session.
Despite what he felt was a major restriction, Nicolo told Moon that
he got lucky anyway: A horn section, led by saxophonist King Curtis,
had been recorded that went mostly unused in the original. John's
guitar line was a constant throughout as well.
The producer put the parts he had into his ProTools computer software and
juggled the elements to create a party atmosphere, with Yoko's
vocalizations dropped in "at explosive junctions."
Nicolo remembers that when he first met Yoko to the do the final mix, she
began the session by expressing regret that she'd placed any restriction
on him. She told him he could start over if he wanted to, using all
of the elements and tricks in his bag.
Nicolo declined the offer: "I told her, 'I'm glad you did (stipulate
no additional material be added), because by being forced to use what was
there, I had to be creative in a different way.' And it was all
there. I just uncovered the magic."
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