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| John Lennon | Primary Artist, Guitar, Piano, Vocals |
| Elton John | Organ, Piano, Background Vocals, Vocal Harmony |
| Julian Lennon | Drums |
| Harry Nilsson | Background Vocals |
| Howard Johnson | Baritone Saxophone |
| Jesse Ed Davis | Guitar |
| Nicky Hopkins | Piano |
| Jim Keltner | Drums |
| Ron Aprea | Horn |
| Kenny Ascher | Conductor, Electric Piano, Clavinet, Mellotron |
| Arthur Jenkins | Percussion |
| Bobby Keys | Tenor Saxophone |
| Steve Madaio | Horn |
| Eddie Mottau | Acoustic Guitar |
| Klaus Voormann | Bass |
| Little Big Horns | Track Performer |
| Rev. Thomas Ghurkin | Piano |
| Dr. Winston O'Reggae | Acoustic Guitar |
| Mel Torment | Piano |
| Howard Glover "Johnny" Johnson | Baritone |
| Booker Table | Guitar |
| Doctor Dream | Acoustic Guitar |
| Rev. Fred Ghurkin | Acoustic Guitar |
| Hon. John Saint John Johnson | Guitar |
| Kaptain Kundalini | Guitar |
| Maitre D's | Guitar |
| Dwarf McDougal | Acoustic Guitar |
| Dr. Winston O'Ghurkin | Guitar |
| Frank Vicario | Horn |
| Lee Dorsey | Composer |
| John Lennon | Arranger, Composer, Producer, Paintings, Audio Production |
| Harry Nilsson | Composer |
| Lori Burton | Contributor |
| Yoko Ono | Reissue |
| Ron Aprea | Contributor |
| Kenny Ascher | Orchestration |
| Greg Calbi | Mastering |
| Roy Cicala | Remixing |
| Peter Cobbin | Remixing |
| Joey Dambra | Contributor |
| Morris Levy | Composer |
| Clarence Lewis | Composer |
| Steve Madaio | Contributor |
| Morgan Robinson | Composer |
| Frank Vicari | Contributor |
| Shelly Yakus | Engineer |
| Tom Rabstenek | Mastering |
| Little Big Horns | Arranger, Producer |
| M. Robinson | Composer |
| Steve Rooke | Mastering |
| Roy Kohara | Art Direction |
| Dr. Winston O'Boogie | Author |
| The Corporation | Composer |
| Plastic Ono Band | Arranger, Producer |
| Jim Lovine | overdub engineer |
| Edward Maclysaght | Author |
| Philharmonic Orchestrange | Arranger, Producer |
This album, from 1974, represents, for me, the peak of John Lennon's solo career. There is a song on it, with the same title of a Bessie Smith song, but with completely different lyrics and melody. The song is NOBODY LOVES YOU WHEN YOU'RE DOWN AND OUT and it harkens back to the self-revelatory songs John wrote for the Beatles, such as HELP and YOU'VE GOT TO HIDE YOUR LOVE AWAY. He is in fine voice. As a whole, the album has the effect of a man looking out at a bleak dawn, the sun coming up over the sea, knowing things will get better because they can't get worse. It's aimed at people who have lived rocky lives, and I recommend it for people who want to know Lennon's mind.
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Posted October 1, 2010
Mark Twain once said of Wagner's music, " It's better than it sounds." That's actually true of John Lennon's WALLS AND BRIDGES. It's the only solo album of his which doesn't feature a pose of some sort. He's not pretending to be a hero. He's not making a political statement. He's not trying to be seductive. It's about being without a mate. He was never in better voice than on " Nobody Loves You (When You're Down and Out.)" He was thirty-four when he recorded this album and he sounds comfortable being almost middle-aged and a bit hungover. It's an urban-sounding record. It's tough but glittering.
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Editorial Reviews
All Music Guide - Stephen Thomas Erlewine
Walls and Bridges was recorded during John Lennon's infamous "lost weekend," as he exiled himself in California during a separation from Yoko Ono. Lennon's personal life was scattered, so it isn't surprising that Walls and Bridges is a mess itself, containing equal amounts of brilliance and nonsense. Falling between the two extremes was the bouncy Elton John duet "Whatever Gets You Thru the Night," which was Lennon's first solo number one hit. Its bright, sunny surface was replicated throughout the record, particularly on middling rockers like "What You Got" but also on enjoyable pop songs like "Old Dirt Road." However, the best moments on Walls and Bridges come...