I read the previous reviews of this album, and I must disagree most vociferously. Let me take you back in time to 1972..........I bought this album the DAY it came out, the Vietnam War was still raging, the Pentagon Papers had just come out, and everyone was "politically aware" at the time. I remeber going to a peace march in NYC at the time, and John Lennon spoke, so did Daniel Ellsburg. This album hits the nail on the head when it comes to encapsulating the mood of the times. Sure, there are some crappy songs on this album, but the stuff that is good, is GREAT. There is a lot of good rock and roll on this album (remember rock and roll?). As for the "bonus" album, I don't know about the rest of you, but I think it's awesome! The first side, recorded at the Fillmore East (I think it was recorded the last week this place was open)is with the Mothers of Invention, featuring Flo and Eddie. Maybe a lot of people don't understand this kind of music, but if you're into it, you need to have it. The other side is also a live jam with Eric Clapton, Nicky Hopkins, Jim Keltner, and others. Maybe nowadays this stuff sounds dated, but not to me. This is not commercial stuff, just a bunch of musicians playing their hearts out. Definitely not Top 40, if that's what you're looking for, look somewhere else.

I'm a huge Beatles/Lennon fan, but this is robbery for two reasons:

1. This is the worst music ever released or even associated with John Lennon. As a rock and roller, Yoko was a fake and a hack, and she certainly shows it on this record. Even John must have felt that, as he did not ever truly "collaborate" with her again, but instead gave her half the space on the Double Fantasy album. He only wrote two even half-way decent songs for this album: Woman is the Nigger of the World and New York City, both of which are abysmally produced. The rest of "Disc 1" is pure hack-work, replete with an amaturish sounding band and horrible production.

But the strongest argument to not buying this disgusting release is Disc 2. What audacity Capital/EMI has to charge a full double-disc price for this dreck. All of Disc 2 is horrible jams with Frank Zappa in '71 and Clapton, Harrison, et.al. in late '69. The only moment on the record that's not totally embarassing is John's Cavern-era take on Well (Baby Please Don't Go), but even that is spoiled by Yoko's unlistenable caterwauling.

Buying this is asking to be robbed. Given an extra star because I just can't give a one-star rating to a Beatle, ex or otherwise.

After the brutal, elemental Plastic Ono Band and the sublime Beatle-worthy Imagine, Lennon & co. crashed into every who's who list of 70s leftist politics and culture with their own brand of obnoxious utopian idealism. The result was this album, a sprawling political polemic thats as tedious to listen to as it is depressing. 1972 would spell the end of what was a very promising solo career -- in a sea of drug abuse, paranoia (some apparently justified, Nixon WAS after him), and marital bickering, Lennon's confidence would be worn out. He would grow cynical, disillusioned, and tired, and the effects can be heard clearly on his next record, the well-written but confidence-shattered Mind Games.

The first half, a studio effort containing some impressive names (Clapton, Hopkins, Keltner and Preston to name a few) is split between John and Yoko tracks. The promising opener, the ruthlessly extreme "Woman is the N----- of the World," is probably the only essential track on the album. Other notable tracks are "Attica State," a disturbingly naive hard-rock response to the Attica prison riots (Free the prisoners / Jail the judges / Free all prisoners everywhere/ All they want is truth and justice / All they need is love and care). It still maintains a bit of shock value. Another is "John Sinclair," a semi-perfunctory folk protest song with a effective repetitive hook. The clumsy throwback rocker, "New York City," is harmless and fun.

Most of the other material is comprised of horribly didactic diatribes on whatever was itching John and Yoko (in the latter's defense, "Born in a Prison" and "Sisters, O Sisters," may be two of the most listenable songs in her career). "Sunday Bloody Sunday" tackles the Irish troubles in what is a remarkably poor effort at a street-wise anthem. "The Luck of the Irish" is even worse - a wretchedly plain duet with John and Yoko, the former playing school teacher, and the latter rambling on about leprechauns, Irish spings, clovers, Blarney stones, and just about every other cliché imaginable. Another duet, "Angela" is passable material.

That's the album. On its release in 1972, Lennon added the live half as a free supplement. However, on CD issue, the album is billed and priced like any double album.

But even the seemingly harmless live half manages to put a stain on Lennon's legend. The story is that Lennon showed up at Zappa's door one morning, introduced himself, and proposed a stage appearance at the Fillmore (where FZ was recording his Fillmore album). The material would be available to both on future agreement. So Lennon and the Mothers appeared on stage together, and with Zappa's recording equipment and musicians, recorded a show at the nigh-penniless Zappa's expense.

Lennon and Spector took the tapes, edited out the Mothers (who, at one point, joined in chanting "We're going to put Yoko in the scumbag,"). John and Yoko claimed writing credits for all of the Mother's jams, including "Scumbag" (actually Zappa's sophisticated epic "King Kong"). Zappa tried to contact John and Yoko, but the two wouldn't return his calls, and even refused to give him any royalties. He never forgave them, and shortly before his death, released the tapes unedited on the Playground Psychotics album.

So, there you have it. An unfortunate period in Lennon's career. Not worth the price of admission, and strictly for completionists only.

First, I would like to contemplate on the reasons for this album being so much ignored. Is it because of the large amount of Yoko singing and writing on it, with her being, at the time still "THE REASON" for the Beatles' break-up? Is it because of the political aspects of it, which can be un-easy to listen to by people who are not leftists? Is it because it was a total change from the albums John Lennon made, as a solo artist, before and after?
Whatever the reason, the fact is that this album is not regarded as a true part of the John Lennon "canon". People who usually know every Lennon word by heart sometimes let this album pass by them. In a way, I am thankful for this, because you get to this album through pure curiosity - and get rewarded by a blast.
In "Plastic Ono Band Lennon claimed that "he was the dream weaver but now he's reborn", meaning that he was concentrating on his feelings and self rather than outer images and inventions. I think that "Imagine" shows the consequences of this, in songs like "How" (which sounds damn close to Carpenters to me). Apparently, as Harrison got into Eastern philosophy a bit to deep to be graceful after "All Things must Pass", so did Lennon with Therapy.
Some Time in New York City" is Full of inventions, humor, fun, and Rock n Roll, and is Interesting in the same way that "White Album" was, and "Imagine" - except "I don't want to be a soldier" Isn't, and where all his later solo work left me emotionally cold, I cried when I heard "Luck of the Irish". And Yoko - well, this album changed my mind about Yoko. She's cool. She's funny. She even writes damn good songs:
"Sisters O sisters" is cute, "We're all Water" is super-cute, and cool, and "Born in a prison" is so damn good it is comparable to any Lennon song there.
As for the political thing: would any of the people feeling "Bored" or "untouched" or whatever about these thing have the same problem if it was a Dylan song?
It is a strange world: they booed Dylan when he got off topical songs, and they booed Lennon when he got into them. I think that just as the romantic, surrealistic and psychedelic things Dylan did are superior and richer then his earlier work, so dose this album much more superior to "Imagine" or "Walls and bridges". "Attica state" is rocking, "Sunday Bloody Sunday" is storming, and "Luck of the Irish" is a triumph a revelation, with the great triumph of Lennon beating Dylan - as he ménages to rhyme "with god on our side" with something other then the ones rhymed by Dylan, and stronger.
I understand full well the reasons John Lennon wanted to get away from his old musical life, from "The Walrus" and just be "John" again. I deeply sympathize. Unfortunately, I prefer the Walrus. When john deals with his feelings in a therapy-group sort of way, it seems he truly needs it, but I feel uncomfortable, because he doesn't look good "naked". It's not that I object people being "Naked" - with Dylan, and Roger Waters it works well, but with Lennon it doesn't. It's boring, and you get the feeling he's somewhere else.
In "Some time in New York city" he's alive again, almost back from the dead. Inventing, storming. Instead of the pacified child in a therapy room of "How" you get the storming rebel, rocking - and with a cause. He doesn't look inside anymore but turn his look outside, describing things in his colorful and genius manner again. THIS is what he's paid to do, as far as I'm concerned and too bad for all you rightists.
This is the swan song of the Walrus, before he finally turned to John - who, let me remind you, was a good friend of Elton John. Need I say more?

Sometime in New York City is a great album. I would actually give it 4 and a half. I admit that some of the issues are very dated, but it doesn't hurt the quality of the album. Also, Yoko's songs are suprisingly listenable, especially Siaters, O Sisters. John's songs are obviously better, though. Woman is the Nigger of the World, New York City, Sunday Bloody Sunday, and John Sinclair are especially good. The songs I didn't mention are good also.

The Live Jam CD is also good. Yoko, however, really hurts it. Don't Worry Kyoko is horrible, and she manages to wreck Baby Please Don't Go, which would have been great. Cold Turkey is excellent and the others are also good.

The first CD is much better than the second, but the second would probably get 3 and a half to four. I would still reccomend buying it.