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Read the original blog post4.23pm
18 April 2013
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I love this album. I like how John went back to the 50’s rock with this album, and then incorporated the 50’s rock and roll sound into Double Fantasy as well (as on Just Like Starting Over). As he got older, he revisited his love of Elvis and the early rockers and rejected the psychedelic experimentation of songs like “I Am The Walrus .” It took me a while to see that John was the mastermind of the early Beatles while Paul was the mastermind of the later Beatles. John was almost always about the rock and roll, and just playing the songs. His songs tend to have a more basic, “live” sound because he just wants to get it done.
"If you're ever in the shit, grab my tit.” —Paul McCartney
1.02am
28 March 2014
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Other than “Stand By Me “, I can’t think of any other songs I’ve ever heard from this album, even on the radio. 
BEATLES Music gives me Eargasms! 
1.05am
1 December 2009
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Same here, heard that track once or twice and nothing else. I think I’ll give the album a first first listen on Youtube tonight if I get time…
OK, listening now. Opener, “Be-Bop-a-LuLu” is pretty good; next several, not so much. Bloody Spector, with all those flatulent horns all over the place. Either keep the proper ’50s arrangements or go all-out ’70s R&B, but don’t give us this halfway-to-nostalgia stuff.
“Ain’t That A Shame”, nice and energetic. Weird semi-reggae touches on “Do Ya Wanna Dance”. Another Chuck Berry cover that Chuck and his bu$ine$$ associates would love. More lifeless horns.
“Peggy Sue” Great! Best track since the opener. Spector adds little instrumentation to the original other than (I think) some nice organ drones. The guitar break duplicates the original strum-for-strum, only with modern-day semi-distortion added, neat. And a suprising coda.
“Bony Maronie” is another failure. Too slow, unless it was meant to be a Black Sabbathized version (as the sludgy guitars suggest), in which case it’s not slow enough. And again, those damn horns adding nothing.
Blah blah….OK album, John sings good and all, but I wish Jack Douglas had been available, or somebody besides Phil.
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BongoGEORGE: In fact, The Detroit Sound. JOHN: In fact, yes. GEORGE: In fact, yeah. Tamla-Motown artists are our favorites. The Miracles. JOHN: We like Marvin Gaye. GEORGE: The Impressions PAUL & GEORGE: Mary Wells. GEORGE: The Exciters. RINGO: Chuck Jackson. JOHN: To name but eighty.
7.34am
11 November 2010
Offline I love this album. I actually far prefer the Lennon version of Do You Wanna Dance? to the original.
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8.58am
Reviewers
29 August 2013
Offline Necko said
I love this album. I actually far prefer the Lennon version of Do You Wanna Dance? to the original.
I like it – but I find some of the playing uninspired and the tempos don’t quite fit the songs at times.
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1.21pm
28 March 2014
Offline Vonbontee said
Same here, heard that track once or twice and nothing else. I think I’ll give the album a first first listen on Youtube tonight if I get time…
Thank God for YouTube! 
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vonbontee BEATLES Music gives me Eargasms!
2.20pm
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1 May 2011
Offline I like most of the album even tho not much is stand out, its a fun album. John’s covers are far better than when Paul did them years later (‘Ain’t That A Shame’, ‘Be-Bop-A-Lula’, ‘Bring It On Home To Me’) in my opinion, i prefer the instrumentation and John’s vocals are solid.
This is the one album where i cannot find a large number of outtakes even tho they are out there, i have some but few in comparison. ‘Be My Baby’ should have been on the album by the way; why it never made even ‘Menlove Avenue’ is another question.
"I told you everything I could about me, Told you everything I could" ('Before Believing' - Emmylou Harris)
2.47pm
18 April 2013
Offline Vonbontee said
Same here, heard that track once or twice and nothing else. I think I’ll give the album a first first listen on Youtube tonight if I get time…
OK, listening now. Opener, “Be-Bop-a-LuLu” is pretty good; next several, not so much. Bloody Spector, with all those flatulent horns all over the place. Either keep the proper ’50s arrangements or go all-out ’70s R&B, but don’t give us this halfway-to-nostalgia stuff.
“Ain’t That A Shame”, nice and energetic. Weird semi-reggae touches on “Do Ya Wanna Dance”. Another Chuck Berry cover that only Chuck and his bu$ine$$ associates could love. More lifeless horns.
“Peggy Sue” Great! Best track since the opener. Spector adds little instrumentation to the original other than (I think) some nice organ drones. The guitar break duplicates the original strum-for-strum, only with modern-day semi-distortion added, neat. And a suprising coda.
“Bony Maronie” is another failure. Too slow, unless it was meant to be a Black Sabbathized version (as the sludgy guitars suggest), in which case it’s not slow enough. And again, those damn horns adding nothing.
I don’t know which tracks, but I think bout half is Spector and half is John. I think the Spector tracks are probably at the beginning (just a guess)?
Spector stole the tapes and by the time John got them back and listened to them, he realized how horrible they were. They had all been recorded during one big, giant, drunken stupor. So he got his own band together and finished the album.
"If you're ever in the shit, grab my tit.” —Paul McCartney
3.15pm
Reviewers
17 December 2012
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Only four of the thirteen tracks are from the Spector sessions – You Can’t Catch Me , Sweet Little Sixteen, Bony Moronie and Just Because .
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The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
8.43pm
Reviewers
17 December 2012
Offline Before going into Record Plant East in New York City on 21 October 1974, John reassembled the band he’d used for Walls And Bridges to rehearse them for a few days at Lou Levy’s upstate New York farm. The following, known as “The May Pang Tapes”, are believed to come from those mid-October sessions (though could equally be outtakes from the Record Plant East sessions). The sound quality isn’t great (coming from an old vinyly bootleg), but they do show many of the tracks in a rawer form, and include some surprises.
(1) Ain’t That a Shame (2) Bring It on Home to Me/Send Me Some Lovin (3) Ya Ya (4) That’ll Be the Day (5) Do You Wanna Dance? (6) Stand By Me (7) Ain’t That a Shame
(1) Do You Wanna Dance? (2) Rip it Up/Ready Teddy (3) Bring It on Home to Me/Send Me Some Lovin’ (4) Peggy Sue (5) Be-Bop-a-Lula (6) Slippin’ and Slidin’ (7) Whole Lotta Love [jam] (8) Thirty Days (9) Slippin’ and Sliddin’
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The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
8.40am
Reviewers
Moderators
1 May 2011
Offline Reheard ‘To Know Her Is To Love Her’, which was cut during the ‘R&R’ sessions but remained unreleased until 1986’s ‘Menlove Avenue’, last night. Different to the Beatles BBC and Germany recordings so takes a little getting used to but is certainly catchy.
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2.26pm
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Members
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20 August 2013
Offline Here’s a Minimation that mentions this album. In the clip John mentions the first time he met Paul at St. Peter’s Church hall.
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2.31pm
Reviewers
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1 May 2011
Offline Interviewer asking John if he met Paul in London?
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2.44pm
Reviewers
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1 May 2011
Offline Listening to John rehearsing ‘Stand By Me ‘ and it was very reminiscent of ‘Only You’ which John had recorded with Ringo for his ‘Goodnight Vienna’ album just a month earlier. I wonder therefore if ‘Only You’ reminded or encouraged John to cover ‘Stand By Me ‘. Whatever the reason John’s cover is one of the highlights in his entire catalogue, the best by far on ‘Rock ‘N’ Roll , and one of the best covers ever (in my opinion).
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5.45pm
17 October 2013
Offline meanmistermustard said
Listening to John rehearsing ‘Stand By Me ‘ and it was very reminiscent of ‘Only You’ which John had recorded with Ringo for his ‘Goodnight Vienna’ album just a month earlier. I wonder therefore if ‘Only You’ reminded or encouraged John to cover ‘Stand By Me ‘. Whatever the reason John’s cover is one of the highlights in his entire catalogue, the best by far on ‘Rock ‘N’ Roll , and one of the best covers ever (in my opinion).
Agree here……..
I had this tape in the knackered old mini we were driving round Europe in the long Summer before Uni…….Played this as often as I could. My mate wasn’t such an avid fan…but he loved it too.
Whenever I hear it I remember the beautiful German girl that crawled into my tent……….Getting lost on the Paris ring road……The drive through the Pyrenees……..Sleeping with my head zipped outside the tent because of my mate’s farts……..But mostly the German girl.
6.33am
14 June 2016
Offline Be Bop A Lula is a catchy gem. Great way to start the album.
John’s cover of Stand By Me is absolutely one of the best covers. I think it beats the original.
The energy of Slippin and Slidin is amazing. It has a similar forcefulness of stuff like She Loves You , etc.
I dig this version of Ya Ya too, along with Angel Baby.
All in all it’s a fun album and one that I’m glad he did. At the end of the day, this is where his heart was.
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7.42pm
1 December 2009
Offline Was playing this today, and took note of the fadeout, extended a bit beyond Fats’ original ending, during which the drummer (Jim Keltner?) adds drum fills during the rests. And remembered that Cheap Trick did the very same thing in their own hard-rocking cover:
Cheap Trick would, of course, go on collaborate with John himself, and be produced by George Martin (and “Double Fantasy ” producer Jack Douglas)
GEORGE: In fact, The Detroit Sound. JOHN: In fact, yes. GEORGE: In fact, yeah. Tamla-Motown artists are our favorites. The Miracles. JOHN: We like Marvin Gaye. GEORGE: The Impressions PAUL & GEORGE: Mary Wells. GEORGE: The Exciters. RINGO: Chuck Jackson. JOHN: To name but eighty.
11.43am
1 December 2009
Offline Great Marcus’ original CREEM review, June ’75
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Shamrock WomlbsGEORGE: In fact, The Detroit Sound. JOHN: In fact, yes. GEORGE: In fact, yeah. Tamla-Motown artists are our favorites. The Miracles. JOHN: We like Marvin Gaye. GEORGE: The Impressions PAUL & GEORGE: Mary Wells. GEORGE: The Exciters. RINGO: Chuck Jackson. JOHN: To name but eighty.
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