In the decade following the disbandment of The Beatles, John Lennon released only seven solo albums. The posthumous albums Milk and Honey and Menlove Ave. increased this count to nine. Given this limited output, each choice of opening track becomes significantly impactful and noteworthy, demanding a deeper appreciation for its context and meaning.
As with all aspects of Lennon’s artistic journey, his song selections were often contentious, filled with raw emotion, and infused with a unique blend of joy and introspection, reflecting his complex personality and experiences.
Lennon bravely faced the harsh realities of life in his 1970 release Plastic Ono Band and continued this introspective journey in 1974 with Walls and Bridges. In contrast, he offered nostalgic reflections in 1975’s Rock ‘n’ Roll and the 1984 album Milk and Honey. Notably, Some Time in New York City stirred significant controversy in 1972, showcasing Lennon’s fearless approach to societal issues.
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There were also pivotal moments when Lennon showcased some of his most exceptional work right from the start, exemplified in albums like 1971’s Imagine, 1973’s Mind Games, and 1980’s Double Fantasy. Each of these albums launched with a U.K. No. 1 single, an international Top 30 hit, and a Billboard chart-topping success, illustrating his enduring influence on music.
Let’s take a comprehensive look back at every opening track from John Lennon’s tragically brief solo career, ranked according to their impact and significance:
No. 9. “Woman Is the N—– of the World”
From: Some Time in New York City (1972)
This provocative track emerged as Lennon moved away from his youthful chauvinism, reflecting on something profound that Yoko Ono articulated shortly after their first meeting in 1968. The controversial title became notorious, leading many radio stations to refuse airplay, resulting in its disappointing peak at No. 57 on the Billboard Hot 100, marking it as the lowest-charting song during Lennon’s life. The follow-up single “Borrowed Time” fared no better, reaching No. 108 nearly four years after Lennon’s untimely death.
No. 8. “Be-Bop-a-Lula”
From: Rock ‘n’ Roll (1975)
This long-awaited collection of early rock covers opened with a track steeped in Beatles history. Gene Vincent’s “Be-Bop-a-Lula,” which became a Top 20 hit in 1956, captured the imagination of a young John Lennon. The song holds particular significance as it was performed by Lennon’s childhood band, The Quarrymen, at a Liverpool church garden party in July 1957, leading to the legendary introduction of Paul McCartney. Lennon later reminisced about this pivotal moment, indicating the profound impact of the song on his musical journey.
No. 7. “I’m Stepping Out”
From: Milk and Honey (1984)
This uplifting track was one of the first songs attempted during the recording sessions for Double Fantasy, marking Lennon’s much-anticipated return to music after dedicating time to raise his son, Sean Lennon. Unfortunately, the song remained unfinished, and the early version included on the posthumous album Milk and Honey is merely a rough draft. “I’m Stepping Out” was positioned as the third single from this album but ultimately fell short, charting 50 positions lower than the opening single “Nobody Told Me,” which reached No. 5.
No. 6. “Here We Go Again”
From: Menlove Ave. (1986)
The chaotic final sessions between Lennon and a troubled Phil Spector yielded very few usable tracks. However, they managed to co-create this leftover, although Spector’s exact contributions remain murky. The song did not fit into the oldies project Lennon was working on, and only three Spector-produced tracks made it onto Rock ‘n’ Roll. “Here We Go Again,” enriched by Spector’s iconic Wall of Sound production, would not be released until after Lennon’s tragic death.
No. 5. “Going Down on Love”
From: Walls and Bridges (1974)
Similar to “Surprise, Surprise” found elsewhere on Walls and Bridges, “Going Down on Love” underwent significant changes from its initial version. Early takes resonated with the raw, stripped-down honesty characteristic of 1970’s Plastic Ono Band. However, as Lennon began to layer in additional elements, including a strong horn section, the song evolved. What began as a bleak examination of his tumultuous love life transformed in sound, though the lyrics still depict a Lennon standing at the edge of an emotional precipice.
No. 4. “Mind Games”
From: Mind Games (1973)
What if “I Am the Walrus” conveyed an anti-war message? That concept is akin to the title track of Mind Games, where Lennon intersperses whimsical Lewis Carroll references such as “druid dudes” and “mind guerrillas” while passionately protesting the Vietnam War. Initially conceived as a straightforward demo titled “Make Love Not War,” reminiscent of “Give Peace a Chance,” Lennon refined it into a balanced blend of fantasy and serious commentary, successfully propelling it into the U.S. Top 20.
No. 3. “Imagine”
From: Imagine (1971)
Lennon accurately described this iconic U.K. No. 1 hit as “anti-religious, anti-nationalistic, anti-conventional, anti-capitalistic,” yet its sugarcoated delivery enabled broader acceptance. Yoko Ono played a crucial role in the song’s completion, earning a co-writing credit. Acknowledging the irony in a rock star urging listeners to renounce material possessions, Lennon later modified lyrics in a live performance, shifting from “I wonder if you can” to “I wonder if we can.”
No. 2. “Mother”
From: Plastic Ono Band (1970)
Shifting from guitar to piano, Lennon poured his anguish into this powerful expression of grief for his absent parents. He remarked, “I express myself best in rock, and I had a few ideas to do this with ‘Mother,’ but the piano does it all for you.” Accompanied by the minimalist and impactful rhythm from former bandmate Ringo Starr, the song’s emotionally charged lyrics are amplified by its raw delivery. The haunting finale was recorded in single takes to preserve his voice, capturing the depth of his pain.
No. 1. “(Just Like) Starting Over”
From: Double Fantasy (1980)
Combining elements from three demo ideas—”My Life,” “Don’t Be Crazy,” and “The Worst Is Over”—Lennon crafted this poignant single, which became an international No. 1 hit just after his passing. His sound here evokes a sense of openheartedness reminiscent of The Beatles’ early days, both musically and lyrically as he looks toward the future with optimism. While the sentiment of renewal might come across as bittersweet in context, it ultimately radiates pure joy and a sense of hope.
Ranking the Solo Albums of The Beatles
This gallery includes albums that feel like nostalgic treasures and those that have only increased in appreciation over time.
Gallery Credit: Nick DeRiso
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