Chris Charlesworth of Melody Maker subsequently wrote "all Marc had to do was smile to receive the kind of ovation that any artist in the world would envy...every move brings a scream...and when he grins and shakes his head, the din is deafening".

After more recording to finish The Slider, a superstar jam session of T. Rex with Ringo on drums and Elton John on piano was filmed on April 6 at Apple Studios in Savile Row, London.

[3] The songs seen performed in the film, in order, are "Jeepster", "Baby Strange", "Tutti Frutti", "Children of the Revolution", "Spaceball Ricochet", "Telegram Sam", "Cosmic Dancer", "Tea Party Medley: Jeepster/Hot Love/Get It On/The Slider", "Hot Love" and "Get It On", with "Chariot Choogle" playing at the end credits.

Nick Kent of New Musical Express called the concert footage "fuzzy, primal and repetitive but that's OK" before savaging Bolan's acoustic performances as reaching "new heights of fey precociousness...he whines obnoxiously for over five minutes", although he praised the superstar jam session with Ringo and Elton.

[3] Robert Whittaker of Music Week claimed it was "merely a collection of shots from T. Rex's recent Wembley concert alternating with meaningless indulgent sketches which only underline the complete lack of purpose of it all", although he too called the Ringo/Elton jam a "rock revelation".

If its live sequences obviously owe a lot to Pennebaker's Monterey Pop, Born to Boogie also looks further back, to Dick Lester's Beatles films and even to the teen musicals of the late Fifties.

From the opening credits – where a still of Eddie Cochran is followed by footage of Bolan bursting into action for a live performance – it's apparent that he sees his music as both a homage to the great solo rock artists and a continuation of their tradition: he performs his own version of Chuck Berry's celebrated duck-walk in "Jeepster" delivers a faithful rendition of "Tutti Frutti" (with Elton John hammering away on the studio piano), and recreates Hendrix's orgasmic routine for the climactic "Get It On", running a tambourine up and down the fret of his guitar before finally tossing it into space.

But what raises the film beyond straightforward musical reportage is the way Ringo has linked the concert footage with a number of scenes which could loosely be described as English surrealism, quirky mid-Sixties vintage, and for which the closest parallel is with the Beatles' own Magical Mystery Tour".