More so than any of their previous collaborations or dual releases, "Feeling The Space" could stand along with John's "Mind Games" (released the same year) as two halves of the whole. Here, Yoko shows she was paying attention to John's world, even while he was learning from her. This is the debut of Yoko Ono, pop songwriter. A great, great album from a woman who will always be under an unfair burden. While sadly her next great album would be "Season Of Glass", then the brilliant "Onobox", this is Yoko writing about difficult issues, but in a musically positive mood, with many clever melodic tricks obviously filtered through from her husband. This album (and Onobox), leaves you wishing she had done more in this vein.

First best is the album Yoko did right before this Approximately Infinite Universe. You want a picture of what the world was really like for women in the early-mid 1970's listen to Yoko.

There's nothing like listening to Yoko on vintage vinyl,when music was anything but boring,like today.Feel The Space!!!

REVIEW: Ono's fourth solo album seems to pale in the shadow of her previous offering (the staggering, double record set "APPROXIMATELY INFINITE UNIVERSE"); but the breezy, open air quality of these immaculately crafted tunes are in many ways superior to even the best moments on that LP. And no: I won't listen to another criticism about her voice. Yes there are certainly better singers, but I can think of no other artist who has written more daringly original music than Yoko. Even if you aren't up to the wild vocalese experiments of the "PLASTIC ONO BAND" and "FLY" albums (or her tepid audio collaborations with husband John Lennon) that's no excuse to ignore her mainstream pop/rock releases. There isn't any other singer capable of putting across the climatic build-up and execution on "Woman Of Salem" or who could belt out the anthemic "Woman Power". Her performance is, at times, quite awe inspiring; and the instrumentation moves easily from country ("If Only") and ballads ("Growing Pain") to vaudeville ("Men Men Men") and rock ("Coffin Car") without skipping a beat. Although her militant feminism can be hard to swallow (i.e. her pro-abortion stance, the violence of "She Hits Back", and the irresponsibility of "Angry Young Woman": a frightening tableau about a wife who sneaks out of the house one night and leaves behind her husband and children in order to start a new life for herself), the music certainly isn't (a fact which makes "FEELING THE SPACE" a masterful piece of work). ANOTHER BIG PLUS: the Yoko-as-sphinx cover art! Freaky yet cool! HARSH LANGUAGE: only 1 instance on the live CD bonus track "I Learned To Stutter/Coffin Car". VIOLENCE: about 9 instances. SEXUAL REFERENCES: about 3. DRUG REFERENCES: 1 reference to "smoking myself to death" on "If Only".

HIGHEST BILLBOARD ALBUM CHART POSITION: None

HIT SINGLES: None

In the early 1970's, it was impossible to avoid Yoko Ono's presence. Her music was played on radio to the point you'd have thought she owned the stations.

When Feeling The Space was released in October 1973, her previous album Approximately Infinate Universe was still in the top 10, and Fly, after 2 years, was still in the top 40! Yoko vowed to take a break after this album to avoid burnout.

Feeling The Space quickly became yet another Yoko blockbuster. Staying atop the #1 position on Billboard for 13 weeks, through Christmas 1973. Much like Fly and Universe, this album was also chock full of hit singles. 2 #1's (Women Of Salem and Men Men Men) and 3 other top 10 singles (Coffin Car #2, Women Power #6 and She Hits Back #7). The album sold 8 million copies in the US. Which was a huge hit, but a sign that Yoko was teetering on burning out. We would not see a new album of hers again until 1980, when she conquered a whole new generation and flew back up the Billboard charts.

The best feminist album ever