The Chuck Berry Collectors Blog

Big Beat was a French fan magazine which started in the late 1960s and ended after 21 issues in the 1980s. Thirty-five years later the magazine was brought back to life with a 22nd issue. Since then it's purely digital with no paper releases. Issue 26 was recently published and is of huge interest to Chuck Berry collectors - even if you don't speak French.

Big Beat Magazine is a non-commercial project by Alain Mallaret created with a team of volunteers having pure passion for Blues, Country Music and Rock and Roll, just like the creators of this site and so many others around the world!

Issue #26 concentrates on Chuck Berry and includes both a very nice and interesting photo collection from Jean-Pierre Ravelli and a huge discography by Pierre Pennone. The contents of the discography follows more or less the contents of this site, which Pierre used and referred to. It is, however, limited to the official records released by Chess, Mercury and the likes as most of the 'official' discographies do. Pierre's discography fills almost 100 pages because he has managed to include hundreds of images showing labels, front and back covers, and sometimes even the booklets coming with the records. A minor thing to complain about is that Pierre did not always show the original records but used re-issues sometimes. All in all it's a great discography based on a huge amount of work. Well done, Pierre!

You can read Big Beat magazine at no charge from the Calaméo publication platform:
http://en.calameo.com/search#search-big%20beat%20magazine/books

Alain told me that there's also a PDF version of the magazine available. You cannot download it anywhere, but if you want one, Alain would send it to you. I won't publish Alain's email here, but if you contact me I'd be happy to forward your request. Alain also said that because this is a non-commercial project, you may freely give the PDF to other collectors interested.

It's great to have fellow collectors working so enthusiastically.

Many thanks to Alain and Pierre for their work and for telling me about it.

Readers keep asking us about the multiple variations the new album CHUCK which is now offered by both Dualtone and Decca (and maybe other labels). We can‘t really tell, simply because we don‘t know either.

Where in the past companies targeting the Chuck Berry collector such as Bear Family and Universal/HIP-O Select have been extremely helpful by providing us with lots of information prior to the release of their CD sets and with samples as soon as available, both Dualtone and Decca seem to not target the Chuck Berry collector at all, but to concentrate on the traditional new records markets such as stores, radio, TV, and streaming business.

Though we cannot directly blame Dualtone and Decca for ignoring bloggers as multiplicators since both have outsourced their public relations to specialized companies. In the US this is a company called Shore Fire Media, in the UK a company called Big Mouth Publicity.

We had an email contact with Shore Fire Media when they took over the promotion for the CHUCK album. At that time we asked them to keep us informed and they confirmed. Since then: nada. Shore Fire never sent us a press release or whatever. Only a private contact to Dualtone allowed us to tell you a bit about the release which you couldn't read everywhere else. But even there was a strange "America first" attitude. Or better said "America only". No, they won't ship anything to Europe. And they're not responsible for Europe anyway. Strange, given that while the authors of this site are located in Europe, you, our readers, are located all over the world (and mostly in the US if I look at the emails I receive). And even more strange, the likes of amazon and ebay allow buyers from all over the world to buy American. Looks like it's not only this funny president who's trying to move a whole country to another planet or universe.

About Big Mouth Publicity we cannot say anything at all as only last week we learned that they are supposed to 'promote' Chuck Berry. "In addition to our UK media services, Big Mouth also offers online campaigns targeting key US sites and international blogs." (quote from their site) Interesting. They hadn't found our blog, though. OK, we're only "the best Chuck Berry website in existence" (quoted Now Dig This magazine). Who expects them to find out such when a record label pays a PR agency.

Thus we can only tell you what we have seen on the Dualtone website and elsewhere so far. Last week the Dualtone store had about 10 variations of the CHUCK album which differ in media (CD, Vinyl, or none at all) and packaging (with or without poster, shirt, or book). And no, we cannot tell what's inside the "Photo Book" as we haven't seen one yet. Since last week the Dualtone shop notes that they indeed ship worldwide, but just the shipping of the book doubles its already high price. And, as said, you cannot see what's inside unless you order it.

In addition the Dualtone-labeled Vinyl album is available in different colors. Right now the Dualtone shop offers a "limited edition" red wax variant. Another "limited edition" on white wax is sold through the Barnes & Noble bookstores. A "regular" black wax edition had been in the Dualtone shop but is currently gone. Maybe that was even more limited.

For Decca there's less information available, yes, even less. It seems that there's only a regular black Vinyl album and the usual CD. Decca Japan offers the album as an SHM-CD (this is a different sort of plastic).

Decca UK has distributed promotional copies of at least the CD album. These are labeled to be watermarked and traceable. (If you don't know what this means, read e.g. http://www.idolator.com/298040/watermarked-cds-cause-paranoia-to-be-added-to-long-list-of-music-critics-problems. So no passing of unwanted CDs to friends. Basically you can't even dump such a CD into the next PVC recycling bin as somebody might find it there and make you guilty of unauthorized distribution. Ensure you break the CD first.)

We haven't seen a promotional CD from Dualtone yet, so we don't know if they used the same watermarking. We have seen and shown here a promotional CD single of Big Boys by Dualtone.

Which one of the multiple variants do you need to have? Depends on your budget. Right now we suggest you get the cheapest one to listen to it. Which is what counts.

Many thanks to Thierry for researching most of this article's contents.

If you intend to buy the album or any other item from Dualtone's shop, use this link to get a $5 discount: https://dualtone-music.myshopify.com/?redeem=596498870d7ea20044c4aa18

Dick Clark remembers in his autobiography (Clark/Robinson - Rock, Roll & Remember, Popular Library, 1978, p. 103):

Phil and Leonard Chess sent Chuck Berry to Philadelphia to do the show. Chuck was a giant star, and he'd even written Philadelphia and Bandstand into the lyrics of a song, "Sweet Little Sixteen." Chuck, a very mercurial performer, got to the studio about 20 minutes before he went on the air. We exchanged pleasantries, then he said, "Ain't going do any dancing."
I didn't know what he meant. I thought he wasn't going to dance with the studio audience. "You don't have to dance, just do your record," I told him.
"No dancing," he said.
I told him to stay right there. I went across the hall to the control room and got Tony [Mammarella]. "Go talk with him, will you. I don't know what the hell he's mumbling about."
Tony went over, talked to him, and came back with the news that Chuck wasn't going to lip-sync the song and he wasn't going to do his little duck-walk steps for the camera.
I stormed out of the control room and back into the office. Chuck sat in a chair, relaxed and nonchalant.
"Chuck, I don't know what to say to you, man. We've talked about it, we've announced it, and you're here."
"No," he said, looking past me. "I'm just not going to do that."
I started to fume. I went into my office, grabbed the phone, and told Marlene [Teti] to get me Leonard Chess in Chicago. When Leonard came on the line I said, "Hold on a minute, Chuck wants to talk to you." I went into the other office, telling Chuck Leonard Chess was on the phone.
I heard none of the other side of the conversation, but I can imagine what they must have said to him, "Get your ass out there an do that thing, motherfucker."
Chuck did the show. He's done it a thousand times since. He's never gotten any easier to get along with; he's still an ornery son of a bitch, but I love him dearly. He is indeed one of the great fathers of rock 'n' roll.

Chuck Berry describes the same incident a little bit differently: (Berry - The Autobiography, Harmony Books, 1987, p. 185)

At my first "American Bandstand" appearance, I ran into trouble because I thought it was ridiculous to lip sync the words to "Sweet Little Sixteen." The song was written in honor of first, the teenage girl, and second, the "American Bandstand" show that Dick Clark hosted. I was being stubborn in ignorance of the cost of live singing over lip syncing. Rock 'n' roll on television was in its early days with budgets low, and lip syncing rather than live vocalizing helped cut expenses. In Dick Clark's book Rock, Roll and Remember, he quotes me as saying on this occasion "Ain't going do any dancing." It's hardly likely anyone whose mother taught school would be trained to speak in such fashion. Another point in the same section contains a description of Leonard Chess using profanity and lewd terms while speaking with me long distance, after Dick called him asking him to persuade me to lip sync. Leonard explained the reasons for lip syncing, but he never used profanity while doing business with me at any time in our affiliation.
In Dick's book the confusion that arose about lip syncing my performance is described as if I was not only unaware of sync, but incapable of even trying it. I was being asked to try something for the first time in front of a nationwide television audience! The point is: the writer dramatized his assumption instead of stating a fact. To me, regardless of boredom or stimulation, the truth should always perform. (I'm truly writing this book, I hope you're enjoying it.)
When Clark came back to me from his office, after being the last to speak with Leonard, he was very businesslike and said firmly, "Thank you, and good day," and spun into the studio. The negroid dialect and profanity in his book never transpired. As a matter of fact I'll yet have my first time to hear Dick Clark use such language as was written of his opinion of me. I doubt that he loves me, but I'm certain he does not hate me.

It's nice from Chuck to defend Leonard from using profanity, but this fact has been widely reported. Whether or not Chuck used the "Ain't going do any dancing" quote and maybe why, will remain unconfirmed. One thing Berry is probably incorrect in saying is that he was supposed to sing "Sweet Little Sixteen". According to Morten's books and according to The Pop History Dig, Berry's first appearance on "Bandstand" was on 8 November 1957. Maybe the song was already written by then, but it was recorded at the end of December 1957 and released in January 1958. It's more likely that Berry did an earlier song and that he wrote "Sweet Little Sixteen" after he was on "Bandstand".

In the end Berry went dancing/lip-sync'ing his hits on American Bandstand. Same in the Alan Freed movies.
What Berry never did, though, was make a music video. In the 1950's there weren't any. And when videos became a reasonable way to do advertising for a record, there weren't any Chuck Berry records worth creating one.

The old story came back into my mind when I saw the music video created to promote Big Boys. "Ain't going do any dancing." And any playing either.
Matt Bizer and Curtis Wayne Millard created a video which shows ... people dancing and lip-sync'ing to the music. According to NPR, the video was filmed in Jasper, Georgia, using dancers from Atlanta's Dance 411 studio supervised by choreographer Jeremy Green.
The result is a bit American Bandstand-like, though in color. Helpful to promote the song? Judge for yourself: https://youtu.be/WQzapVH94Lo

In my opinion, THIS video is a much better promotion for the song. It was filmed during Jimmy Fallon's Tonight Show: https://www.youtube.com/watch?v=3lDjjX-M0O0
Here the song is performed live. No dancing, no lip-sync'ing. Of course it's not Chuck Berry playing, but three guys who helped making the original recording: Nathaniel Rateliff, Charles Berry Jr., and Charles Berry III. One of the first covers of this new Chuck Berry song. And a good one!

Late addition: There's a second official music video for the CHUCK album: https://www.youtube.com/watch?v=j05AQJQRuIw. Here you hear Chuck and Ingrid singing "Darlin'." And while listening, you see photos and video snippets of Ingrid with her dad, obviously taken from her private collection. Plus we see a few film segments of Chuck performing, some known, some not, which have been slowed down to fit to the song's feeling. For some reason they added live audience applause to the end of the song.

When German Rock'n'Roll Musikmagazin celebrated their 40th anniversary two weeks ago, I sought some appropriate clothing for the party and concert.

Browsing eBay I found this nice T-shirt. Interestingly most visitors at the celebration did not get the message, but readers of this site should have no need for explanation. Enjoy!

If you like this as much as I did, here's the link to the corresponding eBay offer: eBay item 230919634545. They ship world-wide. Select your favorite color during checkout.