ВОПРОС-ОТВЕТ

_28 Stand By Me

a.1 Commercial Version Rock 'N' Roll (Parlophone CDP 7 46707 2)

a.2a Commercial Version (45) (Stereo) Lennon Legend (Parlophone 8 21954 2)

a.2b Promotional Version (45) (Mono) 'Stand By Me' (Apple P-1881) (US Promo)

a.3 Commercial Version John Lennon Sings The Great Rock & Roll Hits - Roots (Adam VIII A8018)
a.4 Monitor Mix (Incomplete) Should' A Been There (No Label YSB 7374-1) (Side 2, Tr. 4)
a.5 Monitor Mix Should' A Been There (No Label YSB 7374-1) (Side 1, Tr. 5)
a.6 Monitor Mix (Fragment) Rock 'N' Roll Sessions (Voxx-0002)


The Ben E. King classic from 1961, 'Stand By Me' was one of the more inspired tracks on the LP. A sloppy mix sadly undercuts a lovely arrangement and great vocal, however. The Rock 'N' Roll LP version is just a bit longer than the original UK CD. In February of 1975, John remixed the track with "a slightly different intro", which consisted of a string overdub doubling the organ part, for its release as a 45 in March. This single did fairly well, hitting the top twenty in April 1975. Lennon Legend is the best CD appearance of the 45 version, but it fades out about 2 seconds earlier than the 45 (Apple 1881). The 1977 Capitol Starline reissue 45 features the single mix as well. In 1989, the track was slated as the second single from the Imagine: John Lennon soundtrack. Although a promotional 12" single was issued in the US (containing the LP version of the track), a commercial release failed to materialize.
A one second fragment of an offline monitor mix (a.6), appears on the raw tape that was used to produce the You Should' A Been There LP, but not on the actual album. It was bootlegged for the first time on Voxx's retrospective of the Rock 'N' Roll Sessions. However, an offline mix of 'Be-Bop-A Lula' quickly obliterates it! A second, substantially more complete monitor mix (a.5) appears on You Should' A Been There. At this stage, it is most notably lacking the horn section and dual guitar solo in addition to several other overdubs. A third monitor mix (a.4) picks up in progress. By this stage, the guitar solo has been recorded, and the monitor mix ends shortly after that point in the song.
Once again the two "commercially" released versions (a.1) and (a.3) of the track are similar, if not identical.

_38 Medley: Ready Teddy / Rip It Up

a.1 Commercial Version Rock 'N' Roll (Parlophone CDP 7 46707 2)

a.2 Commercial Version John Lennon Sings The Great Rock & Roll Hits - Roots (Adam VIII A8018)
a.3 Rough Mix The Lost Lennon Tapes Volume Sixteen (Bag 5088)
a.4 Monitor Mix Should' A Been There (No Label YSB 7374-1) (Side 1, Tr. 7)
b.1a Alternate Take Anthology (Capitol CDP 8 30614 2)

b.1b Alternate Take (Edit) Wonsaponatime (Capitol CDP 4 97639 2)


This inspired pairing of two Little Richard classics was the most unrestrained attempt at any of the songs John recorded during this post-Spector batch of Rock 'N' Roll sessions. The Anthology version contains extra verses that ended up being cut from the commercial release, and has no overdubs by the "Little Big Horns". The version on Wonsaponatime (2'27) is edited in comparison to Anthology. Both the Roots (a.2) and Rock 'N' Roll (a.1) mixes are very similar if not the same. The monitor mix (a.4) contains both John's "panted" introduction and count-in, the latter being edited out prior to release. Once again, the "Little Big Horns" have yet to be recorded. The rough mix (a.3) aired on Program 89-21/3 of The Lost Lennon Tapes is very similar to the commercial versions, but features a difference in equalization. It has not been bootlegged to date. Like 'Be-Bop-A-Lula', 'Rip It Up' was remixed for its appearance in the Imagine: John Lennon film. It too was used as a bed, in this case for just under 30 seconds.

_48 Ain't That A Shame

a.1a Commercial Version Rock 'N' Roll (Parlophone CDP 7 46707 2)

a.1b Promotional Version (Mono) 'Ain't That A Shame' (Apple P-1883) (US Promo)
a.2 Commercial Version John Lennon Sings The Great Rock & Roll Hits - Roots (Adam VIII A8018)
a.3 Rough Mix The Lost Lennon Tapes (Program 92-11/2)

a.4 Monitor Mix Should' A Been There (No Label YSB 7374-1) (Side 2, Tr. 3)

Fats Domino's first major hit from 1954 was an enormous influence on John and pretty much every major rock star of the 1960's. A rough mix (a.3) of the released version was aired on The Lost Lennon Tapes, and although it is similar to the released mix, it features a longer fade out than both the Rock ‘N’ Roll and Roots LPs. Once again the mixes appearing on Rock 'N' Roll and Roots are very similar, but the latter's fadeout lasts a few seconds longer than the LP version, which in turn has a longer fadeout (3 seconds) than its UK CD counterpart. A complete monitor mix (a.4) is also available, and presents the track prior to recording of the horn section. In addition, the complete ending to the basic track can be heard. The promotional 45 was shipped simultaneously with 'Slippin' And Slidin'' (they even shared the same catalog number) and is also known by the mono mix matrix number PRO-8148.

_58 Do You Want To Dance

a.1 Commercial Version Rock 'N' Roll (Parlophone CDP 7 46707 2)

a.2 Commercial Version John Lennon Sings The Great Rock & Roll Hits - Roots (Adam VIII A8018)
a.3 Monitor Mix w/Breakdown Should' A Been There (No Label YSB 7374-1) (Side 1, Tr. 4)

Called variously 'Do You Wanna Dance' (by the Beach Boys on their 1965 hit recording) and 'Do You Want To Dance' (on the original 1958 Bobby Freeman version). John chose the latter titling for his dub reggae rendition. The CD version (a.1) has same fadeout as the LP, while the similarly-mixed Roots version (a.2) runs on an additional ten seconds. The monitor mix (a.3) suffers a breakdown partway into the track and after a few seconds of chat, another mix is attempted. At this stage several overdubs are lacking, most notably lead guitars and backing vocals.

_68 Slippin' And Slidin'

a.1a Commercial Version Rock 'N' Roll (Parlophone CDP 7 46707 2)

a.1b Promotional Version (Mono) 'Slippin' And Slidin'' (Apple P-1883) (US Promo)
a.2 Commercial Version John Lennon Sings The Great Rock & Roll Hits - Roots (Adam VIII A8018)
a.3 Monitor Mix Should' A Been There (No Label YSB 7374-1) (Side 1, Tr. 6)
b.1 Alternate Take Anthology (Capitol CDP 8 30614 2)


One of the better tracks on Rock 'N' Roll, this Little Richard song was slated as the second single from Rock 'N' Roll, but was cancelled at the last minute after promo copies (a.k.a. PRO-8147) had been sent out to radio stations. An unexplained boost in volume occurs at 1'05 on all "official" LP and CD versions, but the Roots LP does not suffer from this anomaly. Both the Roots and Rock 'N' Roll releases carry nearly identical mixes, but Roots has a slightly longer fade out which lasts an extra five seconds. The monitor mix (a.3) bears John's statement "alright - one more, then that's it" at the opening of the track. Apparently John's threat adequately inspired the musicians to perform the keeper. Like the other monitor mixes, the horn section has not yet been recorded.
Take 5 of the track (b.1) is featured on Anthology, and is considerably looser than the version included on the LP.

_78 Peggy Sue

a.1 Commercial Version Rock 'N' Roll (Parlophone CDP 7 46707 2)

a.2 Commercial Version John Lennon Sings The Great Rock & Roll Hits - Roots (Adam VIII A8018)
a.3 Rough Mix The Lost Lennon Tapes Volume Seventeen (Bag 5089)
a.4 Monitor Mix Should' A Been There (No Label YSB 7374-1) (Side 2, Tr. 2)
b.1 Alternate Take Anthology (Capitol CDP 8 30614 2)


Another fine Lennon rendition, this time of the 1957 Buddy Holly song. Unfortunately, the take included on Anthology of this classic Holly track (one of the few while artists covered on Rock 'N' Roll, thus John's reference to "honky rock" on this take) is abbreviated. Perhaps the tape supply was low that day. The Rock 'N' Roll (a.1) and Roots (a.2) mixes are very similar if not identical. The monitor mix (a.4) has most of the final elements of the recording in place. The rough mix (a.3) taken from program 89-23/5 of The Lost Lennon Tapes sounds very similar to both the Roots and Rock 'N' Roll versions, but has the acoustic guitar accented and has been EQ'd differently than the commercial versions.

_88 Medley: Bring It On Home To Me / Send Me Some Lovin'

a.1 Commercial Version Rock 'N' Roll (Parlophone CDP 7 46707 2)

a.2 Commercial Version John Lennon Sings The Great Rock & Roll Hits - Roots (Adam VIII A8018)
a.3 Monitor Mix Should' A Been There (No Label YSB 7374-1) (Side 2, Tr. 7)
a.4 Monitor Mix Should' A Been There (No Label YSB 7374-1) (Side 2, Tr. 1)
b.1 Alternate Take Anthology (Capitol CDP 8 30614 2)


Grafting a Sam Cooke song and a Little Richard tune together, this joining of two similar songs in melody and groove was another high point of the LP. (Actually, John was partial to Carla Thomas' Stax recording of 'Bring It On Home To Me', as it was the first one he became familiar with.) On the Anthology take, John leads the musicians through a "not bad" (as he puts it) performance after a false start. There are no horns or a guitar solo yet, and indeed, it's not bad at all, it's just not the final take. Once again, the Rock 'N' Roll (a.1) and Roots (a.2) mixes are very similar if not identical. Two monitor mixes are available, (a.4) picks up in progress, while (a.3) is complete. Both appear to present the basic tracks at the same stage of completeness, lacking lead guitars and horn sections.

_98 Ya Ya

a.1 Commercial Version Rock 'N' Roll (Parlophone CDP 7 46707 2)

a.2 Commercial Version John Lennon Sings The Great Rock & Roll Hits - Roots (Adam VIII A8018)
a.3 Monitor Mix Should' A Been There (No Label YSB 7374-1) (Side 1, Tr. 3)

Better than the Walls And Bridges version, but not by much. Levy must have been happier with this rendition of the 1961 Lee Dorsey hit, however. The Rock 'N' Roll (a.1) and Roots (a.2) mixes are very similar if not identical. Like the other available monitor mixes, (a.3) is lacking the horn section overdubs. A rumored Spector backing track for this song has yet to surface, if indeed it was even recorded.

_108 Just Because

a.1 Commercial Version Rock 'N' Roll (Parlophone CDP 7 46707 2)

a.2 Commercial Version John Lennon Sings The Great Rock & Roll Hits - Roots (Adam VIII A8018)

This track, not to be confused with the song popularized by Elvis Presley in 1956, was recorded at the suggestion of Spector; John wasn't familiar with the song, and had to be talked into recording it by Phil. The backing track was recorded in LA, but John re-recorded his vocal in New York (as is evidenced by his closing rap "from the Record Plant East"). The LP has a slightly longer fade than the CD by about two seconds. The Rock 'N' Roll (a. 1) and Roots (a. 2) mixes are very similar if not identical.

Off-line Monitor Mixes - Record Plant East - New York, NY - Late October - November, 1974

_18 Stand By Me (fragment) (a.6) Rock 'N' Roll Sessions (Voxx-0002)

You Should' A Been There (No Label YSB 7374-1)

_28 Be-Bop-A-Lula (a.3) (Side 1, Tr. 2)
_38 Ya Ya (a.3) (Side 1, Tr. 3)
_48 Do You Want To Dance (Breakdown) (Side 1, Tr. 4)
Do You Want To Dance (a.3) (Side 1, Tr. 4)
_58 Stand By Me (a.5) (Side 1, Tr. 5)
_68 Slippin' And Slidin' (a.3) (Side 1, Tr. 6)
_78 Medley: Rip It Up/Ready Teddy (a.4) (Side 1, Tr. 7)
_88 Medley: Bring It On Home to Me / Send Me Some Lovin' (incomplete) (a.4) (Side 2, Tr. 1)
Medley: Bring It On Home to Me / Send Me Some Lovin' (a.3) (Side 2, Tr. 1)
_98 Peggy Sue (a.4) (Side 2, Tr. 2)
_108 Ain't That A Shame (a.4) (Side 2, Tr. 3)
_118 Stand By Me (incomplete) (a.4) (Side 2, Tr. 4)

This thirty-minute-plus reel consists of offline monitor mixes of the released takes. At this stage the performances are simply the backing tracks, and are lacking several of the final overdubs. Details of each mix are discussed with the appropriate track. The rough mixes appear to have been recorded over a cassette full of 'Stand By Me' remixes, explaining the fragment heard at the opening, and the in-progress version at the end. Unfortunately, the "blink and you'll miss it", second-long fragment of 'Stand By Me' does not appear on You Should’ A Been There, requiring completists to obtain Voxx's Rock 'N' Roll Sessions as well.
The monitor mix of 'Do You Want To Dance' which appears on The Lost Lennon Tapes Volume Twenty-Eight is taken from Program 90-18/3, which simply utilized a better quality tape than the You Should' A Been There LP. It is not an additional monitor mix.

Rough Assembly - Record Plant East - New York, NY - November, 1974 John Lennon Sings The Great Rock & Roll Hits - Roots (Adam VIII A8018)

_18 Be-Bop-A-Lula (a.2)
_28 Ain't That A Shame (a.2)
_38 Stand By Me (a.3)
_48 Sweet Little Sixteen (a.2)
_58 Medley: Ready Teddy/Rip It Up (a.2)
_68 Angel Baby
_78 Do You Want To Dance (a.2)
_88 You Can't Catch Me (a.2)
_98 Bony Moronie (a.2)
_108 Peggy Sue (a.2)
_118 Medley: Bring It On Home To Me/Send Me Some Lovin' (a.2)
_128 Slippin' And Slidin' (a.2)
_138 Be My Baby
_148 Ya Ya (a.2)
_158 Just Because (a.2)

As a gesture of goodwill for allowing John and band to practice at his farm, and to prove he had indeed recorded more Big Seven Music material, a pre-production 71/2 ips reel-to-reel tape of the Record Plant mixes was given to Morris Levy in November. Levy, being the, uh, "shrewd" businessman that he was, took this as a sign that John was allowing him to go forward with the mail-order concept John had mentioned in passing over the October 8th dinner meeting. An excellent, detailed look at these complex business dealings, and the legalities surrounding it are included in an article by Joseph Self, entitled "Lennon Vs. Levy - The Roots Lawsuit", found in Volume 2, No. 2 of the 910. However, to shorten a very complicated story, Levy thought that using a loophole that was in Apple's contract with Capitol regarding "distribution by mail direct to customers" (meaning that Capitol was not allowed to market Beatles-related products through record clubs), he would be within his rights to issue the album using TV ads and mail-order. Capitol, of course, was not particularly thrilled to hear about any of these business dealings, and it was eventually agreed that the Levy plan would not happen; Capitol would issue the album in March of 1975.
When Levy got wind of this news, he went ahead and released his dub on LP and 8-Track via mail-order in early February 1975 as John Lennon Sings The Great Rock And Roll Hits - Roots, with a first pressing of 2,444 LPs and 500 8-Tracks. Forcing Capitol's hand, Apple/Capitol moved the release date up a few weeks and issued Rock 'N' Roll on February 15th. In addition, they sought an injunction against further marketing or manufacturing of Roots, and indeed, the TV ads stopped (though shipping of orders did not, continuing well into March.) In the end, a pathetic 1.270 LPs and 175 8-Track's of Roots were sold, as compared with a surprisingly strong 342,000 copies during Rock 'N' Roll's first year of release. Suits and countersuits flexy back and forth between the various parties, leading to a trial beginning on January 12, 1976. After the trial's end on February 5th, a judgement was finally made in favor of John and EMI against Levy on July 13, 1976. Judge Thomas Griesa awarded John $45.000 for damage to his reputation.
As compared with the final Apple LP, Roots featured extended fade-outs and/or alternate edits of several tracks. Variations are discussed and indexed within the description of the Rock 'N' Roll tracks. The listing here is to document the alternate running order used on the Adam VIII LP. One interesting side note: while the mixes for all of the songs on Roots are same as the Rock 'N' Roll LP, an A/B comparison of an original pressing of Roots with the UK CD of Rock 'N' Roll actually reveals a better sonic experience than the official release! Where's that 71/2 ips tape when you need it...
A radio spot recorded for Rock 'N' Roll appears on Bag's The Lost Lennon Tapes Volume Thirty-Three, taken from a 7" 33 1/3 single distributed to radio stations.

2Andrey L.
Спасибо конечно, это наверно исчерпывающий ответ. Только пока нет времени перевод гуглить.

2Бри:

=== Да там, вроде, довольно простым языком написано.
По крайней мере, про отличия\не отличия.

2Andrey L.
В целом да. Roots можно теперь прикупить.

2Бри:

>2Andrey L.
>В целом да. Roots можно теперь прикупить.

=== Только надо иметь в виду, что очень много "пираток" было в то время.
Так сказать, "пиратка" "пиратки". Где-то в сети когда-то видел, как отличить
"настоящую пиратку" от "пиратской пиратки". Но это было давно.

2Andrey L.
Спасибо!

2Бри:

=== Вот, нашёл в одном каталоге описание различий между оригиналом и подделками альбома ROOTS.

Коллеги, есть ли у нас тут кто-нибудь, кто мог бы ОПЕРАТИВНО перевести с французского
статью о Битлз из "Юманите Диманш" 1966 года? В статье примерно 3000 печатных знаков.

Уважаемые коллеги, извините за вопрос, дом на Кавендиш,7 еще ЕГО, или уже продан?

2VLADIS:

>Уважаемые коллеги, извините за вопрос, дом на
>Кавендиш,7 еще ЕГО, или уже продан?

Кто же его продаст? А жить где?

Спасибо, извините за паузу, был в отъезде)) Еще вопрос, хотя может быть, это к Роллеру))

Сколько стоит билетик из Лондона до Ливерпуля на ж/д?