This Sean Lennon article was written by Kieran Stowell, a GIGsoup contributor. Edited by Nick Roseblade
During a time where pop groups and rock bands had a stronghold on the British music scene, Sean Lennon entered the studio with the intention of creating an eclectic and experimental record inspired by his then girlfriend; Yuka Honda. However the end result is a record that keeps your intrigue as it floats across different music genres but ultimately feels very unfocused and haphazard, almost like a young boy whose been given access his father’s toolbox but doesn’t know how to use them.
Lennon opens the record on a melancholic note with the track “Mystery Juice” with the lines; “She won’t speak to me And it’s all my own fault” Before kicking off the track with a monotonous acoustic guitar and drum rhythm while forcing rhymes together in a way that can only be described as uninspired;
“Every day I watch the TV shows, It’s getting so I know the shows hosts, I don’t boast,Maybe I should try and make the most” Just as you believe you’ve heard all the song can offer, it takes an unexpected turn as he plugs in an electric guitar and sets it to overdrive adding much needed intensity to the track, but not enough to save it from it’s initial dullness.
Despite a less than satisfactory beginning, the record does pick itself up with “Home” a short but engaging pop rock track, while on “Bathtub,” Lennon plays with a drum machine while adding multiple layers to his voice, making it one of the album’s more melodic and memorable tracks. Abandoning the guitar completely, Lennon creates the Jazz instrumental, “Photosynthesis” which serves as the highlight of the record. The track sets itself up with a simple bassline and drum beat, mixed with delicate piano licks and a sparse use of woodwind, but as it reaches the midpoint of the track the piano becomes more prominent, creating a build up for what is a tremendous trumpet solo. Then the track ends with distortion, that doesn’t seem to have any reason being there other than for the sake of it and ultimately spoils what was a magnificent piece of work.
It’s from this point that the record goes in a downward spiral from this point. On “Two Fine Lovers” Lennon sings almost in monotone before bursting into an incredibly catchy chorus held together by Beach Boys styled harmonies, this ultimately leaves the track feeling like it was just written for sake of the chorus. “Part One of the Cowboy Trilogy” is a random and bizarre attempt at a country song, While the piano heavy; “Wasted,” serves no purpose other than to justify the album’s length. “Into The Sun” ultimately frustrating to listen to, as for every inspired idea that Lennon presents, comes a handful of bad ideas that needed to be re worked or scrapped altogether.