Brand new 2010 digital remaster of the classic John Lennon album. In the five years following the break-up of the Beatles, John Lennon established himself as a critically and commercially successful solo artist in addition to dealing with a number of private and public tribulations. Lennon eventually released Rock 'N' Roll, a batch of covers ranging the gamut of early rock classics from the '50s and '60s. Lennon threw himself lovingly into this project that hearkened back to the simpler times of being a teenager smitten with the sounds of Chuck Berry and Little Richard (both of whom are represented on this record), light years away from any kind of political statements. Dr. Winston O'Boogie was in full effect whether applying a slight reggae beat to "Stand By Me" and "Do You Want To Dance" or using a pounding piano and honking saxophone to fine effect on "Ain't That A Shame". Unbridled joy can be heard in Lennon's swinging reading of "Slippin' And Slidin'" and within the yelps punctuating Larry Williams' silly "Bony Moronie". Review Quite simply, John Lennon recorded Rock‘N’Roll in order not to be sued. Morris Levy, owner of the publishing on You Can't Catch Me, agreed not to call in m’learned friends over the resemblance of parts of The Beatles’ song Come Together to that Chuck Berry composition if Lennon acquiesced to recording some of his copyrights – a lucrative scenario for Levy. However, once this deal was struck, inveterate old-school rocker Lennon found himself enthused by the idea of a retro album. He even dug up a picture of himself for the cover in his full pre-moptop bequiffed glory. On paper, the concept was a killer. Anyone who remembered Lennon tearing through the likes of Chuck Berry’s Rock and Roll Music on Beatles albums knew he had the capacity for an almost berserk commitment to songs he loved. But the origins of this record in grubby coercion seemed to curse the sessions, which were marked by the mental deterioration of original producer Phil Spector. Levy himself, thinking Lennon was welching on their deal, put out a mail order version using rough mixes, the confusion engendered by which may have been responsible for the pitiful initial sales of Rock‘N’Roll, although lukewarm reviews didn't help. Part of the critical disdain was down to the fact that Lennon seemed uninterested in playing the songs of Chuck Berry, Larry Williams, Little Richard et al the way he had at a thousand gigs and BBC sessions, and opted instead for re-tooling. Tracks like a snail’s-pace Do You Wanna Dance?, a bizarrely ornate Sweet Little Sixteen and a heavy metal Bony Moronie are perplexingly lacking in the swing and pace that was the point of rock‘n’roll in the first place. However, once the shock of this has dissipated, the tracks can be heard to possess a steamhammer power and – courtesy of Spector’s kitchen-sink-and-all modus operandi – an exquisite richness. Though there is very little subtlety, there is evident affection throughout, excellent musicianship and some fun post-modern nods to the audience, including what seems a deliberate attempt to make You Can't Catch Me resemble the swamp-rock of Come Together as much as possible. On all tracks, Lennon’s singing is superb, especially a passionate and epic Stand by Me. Meanwhile, a slinky Slippin' and Slidin' and a breakneck Peggy Sue demonstrate that nobody can teach this man anything about generating primal rock excitement. -- Sean Egan This link will take you off  a new window