Yoko Ono
Yes, I'm a Witch

THE REVIEW

Yoko and dance music have never really gotten along, so what's the solution to reinventing her songs and making them even more innovative through remixes? Which names of artists can make her songs more dancefloor-friendly? These are questions that are almost impossible to answer, considering the extreme works of one of the most controversial women in the history of rock. Apparently, however, someone has managed to address this doubt, and that person is Yoko Ono herself, who calls upon her arsenal of famous fans who are, coincidentally, some of the coolest and most alternative names of recent years: the queen of new indie-rock Cat Power, the transgender pianist with the deep voice Antony who's collaborated with almost everyone, including Bjork and Cocorosie, the former rockstar Peaches who has now turned to dance music, and other loyal names to Mrs. Lennon.
The result is particularly joyful, full of songs that warrant multiple listens: Kiss Kiss Kiss is turned into a sensual, man-catching dance ditty by Peaches with an irresistible chorus and a pseudo screamed-orgasm at the end, O-Oh very catchy and with an exceptional groove, Sisters O Sisters lively and danceable, Everyman Everywoman as spectacular as the original, Revelations turned by Cat Power into an enviable indie rock piece, complete with piano, the title track is very captivating, with its cult chorus: "I'm a witch, I'm a bitch...I don't care what you say"... but the real masterpiece is Toy Boat, a cinematic dream and trip hop with Antony's deep voice combined with Yoko's childlike one, sending shivers and feeling angelic, a track worth listening to multiple times without getting tired.
Not everything is perfectly successful: for example, the intro is rather unpleasant and the remix of Cambridge 1969, reduces the original's 15 minutes, but turns out even more unbearable. However, these are just two exceptions in a highly enjoyable and extreme album, just like its creator.