Jann Wenner’s 1970 review of John Lennon and Yoko Ono’s “Wedding Album” is a fascinating example of how personal bias can influence critical assessment. He describes the album as a “classical package” celebrating “the oldest and most impressive ritual, love,” praising its booklet of press clippings, wedding photos, and soundpiece. However, viewed through a less adoring lens, the album appears to be a more controversial artistic statement.
Wenner’s relationship with Lennon, which began with the desire to meet him and resulted in a close personal connection, undoubtedly shaped his perspective. In 1969, Wenner admitted that the entire reason he founded Rolling Stone magazine was “so I could meet John Lennon.” This fan-like devotion arguably led to an overindulgent view of Lennon’s artistic endeavors.
The fact that people paid a considerable sum – ten dollars in 1969 – for what some consider a pretentious and unlistenable album suggests a “massive swindle” rather than a genuine artistic expression of love. The “Wedding Album” serves as a prime example of a situation where fandom overshadowed objective critical analysis.
Richard Williams’ Melody Maker review is even more bizarre. Apparently reviewing a test pressing with blank sides, he interpreted the engineer’s test signal as intentional electronic music. He claimed the constant tones, with their minute pitch alterations, created a subliminal beat that maintained interest, concluding that the album would be interesting to listen to in 20 years. This illustrates the extent to which critics can sometimes project their own interpretations onto art, even when those interpretations are based on faulty information.
Milo Miles’s more recent assessment, awarding the album one and a half stars in the 2004 album guide, reflects a more measured and critical perspective. This aligns with the evolving consensus that the “Wedding Album,” while perhaps interesting as a historical artifact, lacks substantial artistic merit and should be evaluated with the understanding that it reflects the time period and the artists involved.
The “Wedding Album” therefore provides a fascinating case study in the complexities of artistic evaluation, the influence of personal relationships, and the subjective nature of taste. Understanding these factors is key to developing a well-rounded “a child’s guide to good and evil rym” and critical perspective on art and culture.
