In London, because the finished records of a new John Lennon-Yoko Ono LP album were not ready in time, review copies were sent out in the form of two test pressings, each with a recorded side and a blank side. Most reviewers recognized the dubs for what they were. But Richard Williams, critic for the pop weekly Melody Maker, was caught with his avant-garde down. After listening earnestly to each of the four sides, Williams solemnly reported that sides two and four consisted entirely of single tones, "presumably produced electronically." Their pitch, he noted, varied by microtones and "this oscillation produces...
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