Entries by Dietmar Rudolph

Two years ago we had a long discussion on this blog regarding the recording of Johnny B. Goode. This included some comments about a man not only present at the recording but also deeply involved: Jack Wiener.

This is when I started researching about Wiener who was one of the most interesting record men in the late 1950s and early 1960s. Very little is known about Wiener's work. Therefore I started to write a short article about him. As I researched more, the article became longer and longer. Finally the text is now online as part of this site.

Most of his life Jack Wiener operated using the brand Sheldon Recording Studios named after his middle name. So when you were uninterested in Wiener so far, record collectors should now start to pay attention. Sheldon is a famous name not only to Chuck Berry collectors.

Looking at your Chuck Berry 45s you will see a tiny Sheldon stamp in the dead wax area around the label.

This Sheldon stamp signifies that this record has been mastered by Jack Sheldon Wiener. You will find this on a huge number of singles, EPs and albums from dozens of independent record companies such as Chess, Atlantic, or Vee-Jay.

Looking at your Chuck Berry LPs you will see the logo "Sheldon Recording Studios" on the back of One Dozen Berrys as well as on other Chess/Checker/Argo albums.

Now you're paying attention, don't you?

Jack Wiener (1935-1999) was a sound engineer by profession. From what he did, he was also an inventor, a designer, an architect, a producer, and a studio owner.

In his teens, Wiener built and sold high-fidelity cabinet speakers. At the age of 17 he entered the recording business and started to work at Universal Recording, Chicago and later at Master Recorders, Los Angeles. As an account executive he handled independent record companies such as DOT, CHESS or SUN for which he mastered, doctored, overdubbed and recorded artists such as Pat Boone, Chuck Berry, or Elvis Presley.

In 1956 Wiener started to build a first recording studio on his own located at 2120 South Michigan Avenue, Chicago. Yes, the famous Chess studios weren't Chess studios at all. The Chess brothers had bought the building and provided some money for the studio, but Jack Wiener was a co-owner and did all of the planning and management. He built the recording console, he planned the room layout and construction, and he selected and bought the studio gear. The famous sound we all know from 2120 was purely Jack Wiener's achievement.

Wiener also did all of the recording and mastering at 2120 S. Michigan Av. up to mid 1958. At his so-called Sheldon Recording Studios, Wiener recorded all the Chess/Checker/Argo artists, but also performers from other labels such as the Coasters, Johnny Cash, Ronnie Haig, the Mark IV and more. Not to be forgotten, he cut and mastered Chuck Berry's Sweet Little Sixteen and Johnny B. Goode.

In July 1958 Jack Wiener was drafted and left 2120. He became a member of the Audio-Visual Branch of the Information Service at the Fifth Army Headquarters in Chicago. Concurrently to his work for Army radio broadcasts, he continued to record, to master, and to design recording studios. For instance he recorded the complete 1959 Playboy Jazz Festival. His masters for Chess, Sun, Nashboro and so on were now marked with the tiny Sheldon stamp in their dead wax area. As a consultant Wiener designed the recording console for Sam Phillips' new SUN studio in Memphis as well as the Echo Recording Studios for Jack Clement.

A 1961 client list included more than 200 companies Sheldon was working for, mostly record labels from Ace to Vee-Jay but also radio and TV stations as well as advertising agencies. With the huge list of clients, it's no wonder in a July 1959 ad in Cash Box, Wiener proudly claimed "Best in Mastering: More hits on charts than any other independent studio".

In 1962 Jack Wiener built a new Sheldon Recording Studios at 1725 North Wells Street, Chicago. This time he included everything needed for providing full service to independent record labels. This included recording and mastering, but also pressing, label printing, packaging and shipping. "48 Hours from recording to sale."

By the end of the 1960s with the decline of the independent recording labels, Wiener moved his business to TV sound recording and processing. In the 1970s and 1980s he built and sold top-of-the-line equipment used for motion picture and television production. He also developed computer hardware and software for broadcasters and recording engineers.

Jack Sheldon Wiener was one of the unnamed experts behind all the great records you love. Singer and guitarist Ronnie Haig called him "The Genius in the Sound Room". Wiener's contribution to 1950s music should not be forgotten. Therefore the whole story is here on the main site.

Acknowledgements: I wish to thank all the fellow writers and experts who helped during my research such as Jason Wiener, Nadine Cohodas, Susan Schmidt-Horning, Ronnie Haig, Fred Rothwell, Bruce Pegg, Colin Escott, Peter Guralnick, Bill Leebens, Hermann Ruwwe, Bill Daniels, Opal Louis Nations, Tim Samuelson, Kandalyn Hahn, Morten Reff, Thierry Chanu, and Steve Carr. Thank You!

I have no idea who the people are which release CDs under the ROUGH label name, but I'm sure they read this blog and site regularly. Just a few weeks after we finally managed to solve the mysteries about Berry's 1981 live recordings, ROUGH releases a CD containing the complete show.



The CD is called Live! Wolf & Rissmiller's Country Club - 1981 and seems to be available only on ebay. This time the ROUGH CD got a catalog number (40147), though interestingly the same product code as the previous one which contained live recordings from Seattle and Waterloo.

Of course the ROUGH people did not find the original Norman Pattiz recordings. They just combined what was found on Youtube and on previously released CDs and LPs. So here we find the twelve tracks from the first set as they were broadcast on radio plus the one track from the second set which made it to the Westwood One Radio album.

To fill the CD, ROUGH added some live recordings from other shows. Here we get three songs from the 1982 show at the Roxy which are well known from many other releases. Plus we get three songs from a French TV show 1965. These tracks have been available on video before, e.g. on Youtube or at L'Institut national de l'audiovisuel (Ina.fr). The show was recorded for the French TV series Music-Hall de France on November 4th, 1965 in Montrouge near Paris. As this is the first audio release of this recording, we have added it as a session to our database.

Concurrently to ROUGH 40147 they also released a second CD again containing known but rare Berry live recordings in high quality. ROUGH 40148 is called Saturday Rock - Live at the BBC '72.



As you can read from the title, again we know these recordings well. The Sounds for Saturday show has been released on multiple albums before, most notably the Six Two Five vinyl bootleg.

In contrast to the previous releases, the ROUGH CD contains the full show recording as it had been made available on a DVD last year. Also from a DVD are the two bonus track recorded for the Radio Bremen TV show five days before the BBC concert.

Again this CD is offered on ebay only so far.

Since the late 1970s Chuck Berry traveled to shows domestic and overseas with his friend and bass player James "Jimmy" Marsala. Marsala acted as the band leader performing sound checks and instructing the keyboarder and drummer, often locals, on how to play when sharing the stage with Berry.

Now Marsala has written a book called "Memories of Chuck" in which he reports his experiences on the road.



Marsala's recollections could probably have made this a highly interesting book. Unfortunately they didn't. Given the reports from promoters and journalists about Berry's habits regarding payments or female fans, one would expect nice stories from a first-hand witness. Unfortunately the result is tame and boring.

Marsala tries to correct the public image of Berry by defending him in every way. For every incident reported, Marsala finds a probable and nice explanation, whether on leaving a promoter with paid rooms to get a different hotel, or sending the band off-stage, or overrunning fans with a rental car. All of Marsala's stories are so biased you are tempted to stop reading after one third of the book. Only in the very end you'll find a chapter on Berry's "thriftiness". Everyone else would probably call it "closefistedness". Seems as if Marsala in the end did not really liked to sleep on the floor only because Berry decided to book just a single and single-bed hotel room for the two.

Besides two chapters containing short anecdotes of Marsala's life with Berry, the book chronologically describes incidents on various shows and tours between 1979 and 2014. There are five pages about Berry/Marsala's performance at Bill Clinton's inauguration party, five pages about a show in Spain, five pages about a tour in Brazil, and so on. Everything is very brief. Of the 180 pages of the book, only about 100 contain text at all.

Most of the remaining pages contain color(!) photos from Marsala's collection. Most show Marsala and Berry on stages all over the world, or they show Marsala and the band waiting for transportation. Other photos show Berry or Marsala with other famous artist such as Ray Charles, Aretha Franklin or Bill Wyman. Unfortunately many of the photos are not of best quality.

As Marsala writes from a first-hand witness position, we are supposed to believe what we read. You should take into account that Marsala writes from memory, though. And memory may not always be trusted. I cannot judge on most of the anecdotes reported, but I have been on-site at the 1983 Eindhoven concert. This is where the Berry photo from this site's logo originated. In 1983 I wrote about this concert and what I wrote does not necessarily match Marsala's memories.

I wish Marsala would have taken the time to write more, to write more professionally and to write more openly. Then this could have been a very good book. As it is, you will still want to buy a copy, but like me you will be disappointed.

Since none of the larger publishers seems to have been interested in selling this book, Marsala published it on his own using a Canadian company called FriesenPress. This is not a publisher but a company who offers self-publishing. Marsala provided the complete book, probably along with the non-professional layout. FriesenPress stores the book's electronic file and prints a copy as soon as a buyer wants one. They work together with sellers such as amazon and even with local book-on-demand companies for fats supply. When I ordered my copy from amazon Germany, the paperback I got was printed on demand by a German company. Yours may come from some place completely different. Some sellers are listed here.

Arian Collins is a Chuck Berry fan like us. He recently wondered about the strange release strategy Chess showed with the first ten years in Berry's carrier. Songs were left on the shelf, placed on albums years after recorded or even released as singles only.
Thus Arian imagined how Berry's early albums would have looked like if Chess did release all recordings in time.
On his blog "Albums Back from the Dead - Recreating albums that never actually existed" Arian shows us Berry's Chess albums he imagined, including track listings which follow the recording dates and imaginary covers.
Look, read and enjoy
Chuck Berry 1955-59: https://albumsbackfromthedead.blogspot.com/2018/02/chuck-berry-discography-1956-59.html
Chuck Berry 1960-66: https://albumsbackfromthedead.blogspot.com/2018/03/chuck-berry-discography-1960-66.html

This site's section on Radio Show and Promotional Records has a description of the most interesting Chuck Berry records which were not available for public sale. This includes the so-called Radio Show albums which are LPs (later CDs) containing pre-produced radio shows to be broadcast by radio stations nation-wide. Some of these albums contain interviews or even music not available anywhere else.
I recently received another of these radio albums containing five segments of 5 to 7 minutes each to be broadcast as House of Blues Breaks on CBS stations. The segment for Thursday, 21 April 1994 concentrates on Louis Jordan but holds an interview segment by Chuck Berry related to Jordan.
Berry says:

They say that's a Chuck Berry song because it goes 'da-da-bi-da-bi-da-bi-du-a-da-bi-du-a'. Well, the first time I heard that was one of Carl Hogan's riffs in Louis Jordan's band. We have T-Bone Walker - I love T-Bone Walker and his blues. So you put a little Carl Hogan, a little T-Bone Walker, and a little Charlie Christian, the guitarist in Tommy Dorsey's band, together. Look what a span of people that you will please. And that's what I did in Johnny B. Goode, in Roll Over Beethoven. And making it simple is an important fact, I think, that resulted in a lot of the artists understanding, being able to play my music. If you can call it my music. But there's nothing new under the sun.

This does sound very well-known. We have heard Berry tell this in multiple interviews before. However, I checked the remaining radio station albums and did not find this specific segment. Do you remember where we have heard this specific interview segment before? Let me know.

As you know, this site's database is a complete list of each and every Chuck Berry recording which has ever been published on a mass-produced record or CD.
Some people have noticed that various web sites list Chuck Berry recordings which are not in our database. All these contain "alternative facts" and it's in no way our job to correct those. One error, which even made it to Mike Callahan and David Edwards' excellent Both Sides Now website, continues to be repeated over and over, though. Time to get the facts right:

In June 1972 Chess recorded several of their main artists at the Montreux Jazz Festival. This included Bo Diddley, Chuck Berry, Willie Dixon, Muddy Waters, Koko Taylor and T-Bone Walker. Most were backed by The Four Aces, i.e. Lafayette Leake, Dave & Louis Myers, Fred Below. Some performances including Berry's were also broadcast on TV. From these broadcasts and from audience tapes we know it's been a poor Berry performance despite Walker and Dixon as guest artists on some tracks.

Chess decided to release the best recordings from the various shows on a two-LP set numbered 2CH-60015. Berry's complete performance seems to have been mastered for release, as both Michel Ruppli and Fred Rothwell report the master numbers CH2440 to CH2453 containing the songs from Berry's Montreux performance.

The double album was initially announced under the title "The Blues/Rock Cookbook - Volumes 1 & 2" to be released by Chess/Janus in September 1972. The track listing seems to have included Let It Rock (master CH2448) and School Day (master CH2453) from Berry's performance. [I haven't seen the original announcement yet, but I found a note in Cash Box which lists the artists, though not the songs.]

Those who know tell that the masters of these two songs have been cut from the master tape residing in the Chess vaults which otherwise still has the complete stereo recording. Thus it looks as if a master tape for the Blues/Rock Cookbook album had been created.

However, we have never seen a copy of this album nor any image thereof. It seems that it never made it to the stores. Strangely, many online discographies list 2CH-60015 under this title - and list Berry among the artists.

Correct is instead, that the final release of CHESS 2CH-60015 in February/March/April (?) 1973 has the title "Blues Avalanche" on the cover and "Blues/Rock Avalanche" on the label. The "Avalanche" album has the exact same tracks as the planned "Cookbook" album except for the two Berry tunes. There's no trace of Berry on the disk or on the cover.

It is completely unknown why this change happened? Fred Rothwell writes that Berry had a dislike for compilations. Another wild guess could be that Berry demanded additional cash for the publishing of his recordings. Or someone had noticed that Chess had just released a Chuck Berry live album (The Chuck Berry London Sessions, CH-60020). It even could be that Chess officials finally noticed that Berry's performance in Montreux was poor. Who knows?

In case you wonder, yes, there is another album missing Chuck Berry live performances. The soundtrack album for Richard Nader's movie "Let The Good Times Roll" (Bell 9002, 1973) has the best live performances by old-time rock'n'rollers such as Fats Domino, Bill Haley, and Little Richard, but misses the Berry part from the film including a performance together with Bo Diddley.

There are hundreds of audience tapes containing Chuck Berry shows from all over the world. Few of them are worth listening to and even fewer are worth releasing.
A couple of weeks ago a new CD called Hail! Hail! Chuck Berry! Live! became available containing two shows which are really worth listening to. Although the CD says "This CD-R is a non commercial product and is for private use only", it is professionally made with a printed cardboard envelope. The label is called ROUGH. There is no catalog number, but the barcode reads 640509040147, so we take this as the catalog number.



The two shows included are well known. Seven tracks come from a show recorded in February 1965 at the TV studios of Radio Télévision Belge in Waterloo, Belgium. This show was broadcast under the title "Face au public". It's available in very good quality on YouTube at https://www.youtube.com/watch?v=lhoyMlX5avU
It's interesting to note that Berry is backed by professional Jazz musicians from Belgium: Willy Donni on guitar, Willy Albimoor (Willy Noël De Moor) on piano, Ed Rogers (Roger Van Hoverbeke) on double bass, and Eddie Hunton on drums.
Besides his greatest hits, Berry also performs his latest singles and The Things That I Used To Do, a blues by Guitar Slim.

Further 14 tracks on this new CD come from a September 1980 show at the Seattle Arts Festival "Bumbershoot". Again this recording is of highest sound quality. It probably was recorded and broadcast by Seattle radio station KSIW. At least KSIW DJ Gary Crow introduces Berry and the band and promotes the radio station.
Fred, Thierry and myself spent some time trying to find out who backed Berry at this show. Crow introduces them as the "Northwest All Stars" and they are much better than the average pickup band Berry used to play with. The guitar player and the piano player both get time to solo which is a strong indication for Berry really liking their play.
With the help of Eric Predoehl and Ned Neltner we finally got into contact with guitarist Barry Curtis (ex-Kingsmen) and drummer George Rudiger (of Jr. Cadillac) from the band. Both Barry and George remember the show well. They report that the electric piano was played by Tom "Cadillac" Katica (Jr. Cadillac as well), who died in 2010. They didn't know the bass player who was traveling with Berry. This indicates that here again we hear Jim Marsala playing.
Eric has a great photo shot on his louielouie.net site showing Chuck, George, and Barry during the Bumbershoot show: http://www.louielouie.net/blog/?p=9074
Besides all his greatest hits, the show includes nice versions of You Don't Have To Go and Baby What You Want Me To Do written by Jimmy Reed as well as Lousiana Blues written by Muddy Waters. Note that in contrast to the known audience tapes, the show on this CD has been shortened. Due to time limitations, Johnny B. Goode was excluded, Reelin' And Rockin'/House Lights was shortened by two minutes. Also missing is the introduction by Gary Crow and an initial guitar instrumental based on Rockin' At The Philharmonic.

Right now we haven't seen this CD offered in stores or mailorder catalogs. It is offered on ebay, though.

While Carol is one of Berry's best-known records, the recording itself is kind of a mystery. This starts with two different master tapes which have been used to create the hit single vs. the LP release. Most readers will know the LP master originally created for the 1959 album Chuck Berry Is On Top (CHESS LP 1435). This has a wide range of loudness throughout the song and is used for almost all LP or CD re-issues. In contrast, the master used for the 1958 single (CHESS 1700) is much more compressed to give a more leveled sound. To many people this variant sounds much more vivid and overall better.

The single master is more difficult to get as it was used only for the hit single and the follow-up EP. According to Thierry Chanu, the single master has been used only once since then, on the British album More Chuck Berry (PYE NPL-28028). In the US this master seems to have been lost which is why Bear Family in 2014 reconstructed it from a Vinyl single to re-issue it on their 16-CD box set.

Also lost are session tapes showing the development of the recording as well as the overdubs tried. So it came out as a surprise when in April we found a variant of Carol having an additional piano overdub which is not on the original single or LP release. This piano overdub version has been published only once: on the 1973 double album Chuck Berry's Golden Decade, Vol. 2.

This made us listen to Carol in greater detail trying to find a second release of this piano overdub. We didn't.

But in December Thierry Chanu found something else: On the Japanese 1983 box set Very Good!! (CHESS PLP 834-6) there is a third variant of Carol!! Again it sounds almost the same as the hit version but has additional piano playing. And this is a different piano overdub than the one on Golden Decade.

The piano overdub on this version is much more audible, but concurrently it's also worse. It doesn't fit the song very well. And the master runs approximately 5% faster than the hit version, whether on purpose or not. According to Morten Reff, this second piano overdub was also used on a second Japanese box set called From The Beginning 1955-1960 (CHESS SJET 9523-5) released probably in 1973. And Thierry found it on a strange European CD called Greatest (Goldies GLD63035, Portugal 1991).

Given these results we have to state that session tapes of the Carol overdubs must still have existed in 1973 as two alternative overdubs were used on compilation albums both in the US and in Japan. As these seem to have been lost in MCA's archives, one wonders if master tape copies still exist in Japan or elsewhere.

Does it make sense to write a review of a book you'll never read? Maybe. I got this nice little book for Christmas and would like to share it with you. It's about Chuck Berry, kind of. But unfortunately it's available in German language only.


Bissingheim is a suburb of Duisburg which itself is a suburb of the largest megacity in Germany, the Ruhrgebiet. Duisburg is best known for having the world largest in-land port.
"Chuck Berry over Bissingheim", subtitled "The true story of rock and roll", is a 2017 book by Frank "Zepp" Oberpichler. Oberpichler is a German musician and writer. He played guitar in various cover bands such as "Ten Beers After", "Substitute" or "Freeway Cash" and published some CDs alone and with US or German musicians. His homepage is at http://www.oberpichler.de.
In "Chuck Berry over Bissingheim", the first-person protagonist tells about his Grandpa ("Oppa") Wallusch, an electrical engineer working at the railroads. Oppa Wallusch just passed and his grandson remembers the stories they shared. So we learned that while Bissingheim was never on the tour plan of any famous rock band (or any unknown highschool band either), Bissingheim was indeed the birthplace of Rock'n'Roll.
Oppa Wallusch learned to play guitar in the early 1940s while staying in England during the war. He got friends with an American Blues musician by the name of Big Joe Turner. Back home Wallusch formed a band which on weekends played at weddings and barn dances near Bissingheim. Here Oppa Wallusch merged Blues with Polka dance music and created what he called "Ruck und Roll".
Over the years, his employer sent Wallusch to England and to the States several times and wherever he went, Oppa Wallusch left his traces by educating young musicians or helping them write famous songs. Together with Jim Marshall he invented the guitar amplifier and taught Jimi Hendrix and Pete Townshend how to use it. Wallusch met Woody Guthrie and Jerry Garcia, was on stage at Woodstock and shaped rock music as we know it.
A whole chapter covers Wallusch's stay in Chicago in the late 1940s where he met and educated Chuck Berry on how to do the "Ruck und Roll", how to play guitar and how to write story songs.

The book is a report of Wallusch's talks with his grandson. But concurrently the book is its own soundtrack album. The chapter headings read Track 1 to Track 11 (along with run-in and run-out). Each chapter starts with a quote from a famous railway song (which Wallusch might have been involved in). And each chapter includes the lyrics of a German-language song Wallusch wrote and which is very close to a hit you might remember. Unfortunately no recordings of Wallusch's originals survived.
Track 11 is a song about a guy trying to get a number from the operator to get his loved-one on the phone. The lyrics end explaining that the guy is trying to phone his daughter, not his girl-friend. Wallusch's song is called "Meiderich - Kennen Sie?". (Meiderich is another suburb of Duisburg, "Kennen Sie" is German for "Do you know".) And, believe it or not, Chuck Berry took Wallusch's idea and melody to create a famous English-language version.

Oberpichler's book is a nice read. It could have used less slang, though. I guess even many Germans will not fully understand Wallusch's recollections. But mainly I wish the book would have been longer: Just eleven tracks are much too short for a soundtrack album nowadays.
It's a pity nobody else remembers Oppa Wallusch, this hero of Rock'n'Roll. Even in Bissingheim he is long forgotten, as Oberpichler shows in this nice video trying to find the roots of rock music in Duisburg: https://youtu.be/45WnyUKgkzY

If you can read German, get yourself a copy at your local bookstore using the ISBN 9783942094726. The book is also available at amazon.com or amazon.de. Recommended.

Some time ago this blog had a large article on cover variants of the album Chuck Berry On Stage (Chess LP-1480). I had promised a follow-up on Vinyl variants of this album and because a recent discussion with a reader showed that most information about this album floating around on the Net is incorrect, here it comes.

Let‘s start with some background information: From early 1962 to late 1963 Chuck Berry was behind bars. Berry‘s previous records sold poorly due to his trials. During his prison stay he was not allowed to record new material in the studios. His record company CHESS only had a small stock of unreleased recordings.
Thus the record company was caught cold when new bands on both sides of the Atlantic became successful by covering Berry material. The Beach Boys' Surfin’ USA was released in March 1963, the Stones’ version of Come On in June. Memphis was a hit by Lonnie Mack and the Beatles had several Berry songs in their repertoire.
There was an urgent need for a new Berry album, but there was nothing to put on it. The Chess brothers dug through their archives and looked for unreleased material recorded during the previous years. They found four tracks recorded August 1961 which they considered worth for release: Trick or Treat, The Man And The Donkey, All Aboard, and a re-recording of Brown Eyed Handsome Man. Two recordings were left from an April 1960 session: Crying Steel and I Still Got The Blues. And there was I Just Want To Make Love To You recorded in July 1959. These seven songs were selected. Today we know that there were other unreleased recordings such as House Of Blue Lights, Time Was, 21 Blues, Oh Yeah, Do You Love Me, I’m Just A Lucky So And So, or Adulteen. None was regarded as appropriate by the studio bosses, though.
Seven songs are not enough for an album and none of it was good enough for a single. So what to do?
The Chess brothers were known for their creativity so they came up with a creative solution. Why not fill the album with older material released some years ago? OK, they already did a Greatest Hits album called Chuck Berry Twist in 1962. But why not change the hits a little bit so nobody notices?
Let’s use different song titles and let’s add some audience noise to make the album sound like it was recorded live! To disguise this fake even more, the Chess brothers asked Rodney Jones ,who was a DJ with the Chess-owned WVON radio station, to add a little introduction. So Jones proudly announces “Welcome to the Tivoli Theatre here in Chicago ...”
The editing and engineering work to add the fake applause and Jones’ shouts must have been done by Ralph Bass and Ron Malo sometime in May 1963. The two album sides were mastered from the resulting tape by the end of May or beginning of June and received the Chess master numbers 12477 (side 1, 16’25”) and 12478 (side 2, 14’14”).
Not telling anyone about the fake nature of this album, the liner notes proudly lied:

On this LP we present the world famous Chuck Berry in a jumping, in-person theatre appearance with thousands of fans enthusiastically responding to Chuck’s great performance. Any performer will tell you that he prefers to record in front of a live audience. There is nothing like the cheers and applause of an audience to spur a performer on to the heights of his ability and Chuck really gives his all in front of this packed theatre.

To completely confuse the buyers, the album came without a track listing. The back cover has a non-ordered and incomplete list of songs contained (and the image of an eight-year old LP). The labels simply say Side One and Side Two without any song titles at all. This obfuscation has resulted in incorrect track listings on the Net. Despite everything you read on discogs or wikipedia, the contents of the original US album Chuck Berry On Stage, released in August 1963 as CHESS LP-1480, is as follows:

Side 1:

• Introduction by Rodney Jones
• Go Go Go – originally released in 1961 on CHESS 1799 b/w Come On
• Memphis, Tennessee (title shortened to Memphis) – originally released in 1959 on CHESS 1729 b/w Back in the USA
• Maybellene (now written as Maybelline) – originally released in 1955 on CHESS 1604 b/w Wee Wee Hours
• Crying Steel (here named Surfing Steel) – finally released less overdub in 1988
• Let It Rock (renamed to Rocking On The Railroad) – originally released in 1960 on CHESS 1747 b/w Too Pooped To Pop
• Brown Eyed Handsome Man – finally released less overdub in 1979
• I Still Got The Blues (as Still Got The Blues) – finally released less overdub in 1993

Side 2:

• Sweet Little Sixteen (renamed to Surfin’ USA) – originally released in 1958 on CHESS 1683 b/w Reelin’ And Rockin’
• Jaguar And The Thunderbird – originally released in 1960 on CHESS 1767 b/w Our Little Rendezvous
• I Just Want To Make Love To You – finally released less overdub in 1993
• All Aboard – finally released less overdub in 2003
• Trick Or Treat – finally released less overdub in 2009
• The Man And The Donkey – finally released less overdub in 1974
• How High The Moon – finally released less overdub in 1979

How High The Moon is a 1940s jazz standard. The version heard here has been recorded during a May 1957 session. Chuck Berry, Willie Dixon, Lafayette Leake and Fred Below probably used it as an instrumental warm-up.
On CHESS LP-1480 the recording is not listed on the cover and used as an instrumental sign-off (as such named on the Dutch albums). Again Rodney Jones was overdubbed to shout “Chuck Berry! Chuck Berry! Chuck Berry!” during the first seconds. Shortly thereafter and almost with the first notes from Berry’s guitar, the song fades after 1:03 minutes.
Copies of the original master disk 12477/12478 went to partner companies all over the world and were used to create variants of LP-1480 e.g. in Canada, in Australia, in the Netherlands (note that the Funckler version misprints Surfing Steel as Surfin’ USA), and as re-issues e.g. in Germany (on Bellaphon in 1974) or the only available CD version which was released in Japan (on Universal in 2010).
Of interest to record collectors are variations of the Chuck Berry On Stage album which are not exact copies of the original master disks.
For some reason the UK version, released in October 1963 on PYE international, has not been produced from the LP-1480 master disks. Instead this album must have been created from the original master tapes. Where Side 2 was faded at 14’14” in the US, the British producers found additional space so the second side of PYE NPL-28027 lasts 14’56” instead. Here How High The Moon is 1’45” in contrast to the 1’03” on the CHESS LP.

This longer fade is also on the 1970s US orange/blue re-issue LPS-1480. The LPS version has been electronically altered to sound like stereo. To create this ‘enhanced’ variant CHESS/GRT modified the original longer tape and created a new master called 12477_S/12478_S.
Likewise the 1964 variant released in East Asia (Japan and Taiwan) was created from the longer master tape since How High The Moon has the longer fade here as well. There is a huge difference, though. The East Asian versions miss the instrumental Surfing Steel completely! The song was removed from the tape giving a smooth transition from Maybellene to Let It Rock.

We can only speculate why this was done. Maybe the tape sent to Japan was damaged, maybe there was a company or legal rule not to include instrumentals, or maybe Surfing Steel would translate to bad language in Japanese – pure speculation as said. Or maybe it had to do with the liner notes on the US cover saying

We guarantee that you won’t be able to sit still when you put this album on your turntable and hear Chuck Berry’s versions of Maybelline, Surfin’ USA, Memphis, All Aboard, Trick or Treat and seven other numbers.

So the Japanese took this literally and reduced the thirteen track album to twelve numbers. Note aside: The British could count and changed the word seven to eight on the PYE release.
Another interesting aspect of the Japanese release is the corrected track listing on the back cover. The printed cover has a track listing which follows the incorrect list on the US cover, i.e. Go Go Go after Rockin' On The Railroad. This fault was repaired using a yellow sticker which lists the correct track order. The initial Japanese records, probably those used as promo copies, came with a white Imperial label and a thin sticker through which you can see the original print. Later records then had a Globe label and an opaque sticker.

In 1982 the On Stage album was re-issued in Germany as part of a 2 LP set along with Rockin’ At The Hops. This version has Surfing Steel but omits How High The Moon completely.
And finally there’s the most interesting French version, released on Barclay 80258 in March 1965 as Chuck Berry A L'Olympia. This variant of Chuck Berry On Stage contains the same recordings in the same sequence, though without the two songs having Rodney Jones overdubbed: Go Go Go and How High the Moon were cut off. Instead the French had their own announcer. Eddy Mitchell, a successful Rock’n’Roll singer by himself, is heard with a French language introduction to side 1 which then starts into Memphis, Tennessee. And Chuck Berry himself speaks the introduction to side 2. In addition a few shouts and stage banter from Berry is merged in between the songs on the tape. Berry refers to Paris and tries to speak French. Both Eddy Mitchell’s introduction and Berry’s segments have been recorded at a Paris concert on February 7, 1965. So this is Chuck Berry on stage, indeed. Just the songs are the same as on the US version having the fake audience.


As always: Many thanks to Thierry Chanu and Morten Reff for providing images and a lot of additional information about the 'Chuck Berry On Stage' album.

[Edit 08-01-2018: Added comment and images for the Japanese sticker version.]

[This article first appeared here on December 16, 2014. Just recently Thierry Chanu found yet another cover variant of LP-1480. Therefore I re-post this blog entry with Thierry's addition edited in below.]

[Now that was fast: A week ago we proudly presented our finding of the very rare sticker version of CHESS LP-1480. And we asked some questions which this finding opened. Immediately I received several emails from our French reader Thierry Chanu which not only answered our open questions but also contributed much much more. Thus we have to re-write the story of 'Chuck Berry On Stage'.]

When you read about the 'Chuck Berry On Stage' album released as CHESS LP-1480 in August 1963, such writing often comes with a photo of the album cover looking like this:



This is typically considered to be the original cover of CHESS LP-1480. As such for instance it was used for the Japanese mini-LP replica Universal Music Japan UICY-94630 we wrote about in October 2010.



While this is the best known cover for this album and certainly is the variant sold most often, it is not necessarily the 'original' album cover — if you define 'original' as the first version of this cover.

The interesting thing to look at is the line saying including "MEMPHIS" & "SURFIN' USA" above the artist name. It is printed in black letters and refers to the then current famous cover versions of Memphis, Tennessee and Sweet Little Sixteen (as Surfin' USA).

When Morten Reff described Berry's seventh CHESS album on page 60 in his Chuck Berry International Directory, Volume 1, he noted:

The original pressings of this LP had a sticker on the front cover saying 'Including "MEMPHIS" & "SURFIN' USA"'.

Thus there was no printing, just a sticker containing the same wording as the printed text, though 'Including' is written with a capital I. The text on the sticker is in blue instead of black and it uses a different font.

The sticker version is very rare. We were happy to finally get one and we proudly presented it here last week. (Click for a higher resolution image.)



A contemporary ad from Chess showed a black and white image of the sticker version of the album. And the sticker seems to be applied hastily just before the photo shooting as crooked as it is.



Thierry Chanu then wrote that he as well has a version of this album having the sticker. Though his has been sent out as a promotional advance copy to DJs and marked as such. Here's the back of Thierry's copy:



Given that the sticker is both on the advertisement and on the advance copies, we can state that the sticker version existed before the printed version. It must have been commercially available as well, since Morten's copy is not a promotional one.

[Addition 04-12-2017:
There seem to have been two variants of this sticker. The images above show that the sticker contains just the incorrect song title "Surfin' USA". There's a second version of the sticker which adds the correct song title "Sweet Little Sixteen" in small print below "Surfin' USA". Here's a photo of the second sticker version:

end addition.]

What may be under the sticker, we then asked, as it would be logical that there was no printed text there. So last week we wrote this request to all Chuck Berry collectors reading this site:

Do you have a copy of CHESS LP 1480 which has no sticker and no printing of the 'including' text? If you do, send us an image and we would be happy to show it here.

Again Thierry:

Yes, the cover exists without the sticker. I have one and the record label is black with the golden CHESS on top. It has the same label, writing, and matrix as the DJ copy.

Here's the proof from Thierry's collection:



The second part of Thierry's reply refers to the other question we had wondered about: When receiving the sticker version album, Morten had found

"The copy I bought features the second label, the black label (repress) image on page 60."

Thierry's two records make clear that the label with the golden logo is not from a later re-pressing such as Morten's book had suggested. Obviously this is the original label (left: non-sticker version, right: DJ copy), at least for the early copies.



As this was the brand-new CHESS label containing the new multi-colored logo, it's safe to assume that CHESS wanted at least the DJs see this new logo and label. Thierry however makes clear that one has to be careful to distinguish CHESS records just by their label into 'original' and 'later' pressings.

Chess used three or four pressing plants at the same time, so we can find an original record with different labels.

These are additional early labels of CHESS LP-1480. All came in the third variant of the cover, i.e. the one with the printed text. Even though these look like earlier CHESS labels, we probably shall regard them as used interchangeably at the same time.



Once more Thierry:

Here's one more regular copy with the black label and vertical Chess logo (different than the other black). This one though has been pressed using a different matrix. It was pressed by the Monarch pressing plant in July 1963. This can be told by the etching located in the run-off (dead wax) area of the record. The Monarch pressing plant is identified by an MR inside a circle, always in the trail-off area. The numbers following this symbol tell the date of mastering.

Thus we can sum up the history of CHESS LP-1480 as follows:

• The 'original' cover of 'Chuck Berry On Stage' did not have any printed text except for artist, label, and album name. At least some of these first versions had been available commercially.
• Before advertisements for this album were created and before advance copies were sent out to DJs, CHESS added a sticker referring to the most important songs. This became the second cover version.
• The third and final version must have been printed shortly after or even together with public release. This version had the song titles printed.
• The earliest copies had the multi-colored label with the chess knight logo, probably to demonstrate the new logo to DJs.
• Concurrently older design labels containing the vertical CHESS logo were used. These exist in blue as well as in different black variants.
• At least two different matrices existed to produce the bulk of the 1963 pressings.

To show just a few of these variants, Thierry arranged this photo:



Many thanks to Thierry Chanu for providing all the additional information about the 'Chuck Berry On Stage' album. If we ever find the time, we'll continue this story with the international releases of this album which have different overdubs, longer fades, completely different covers (in multiple variation) and so on... [Done: http://www.crlf.de/ChuckBerry/blog/archives/235-Vinyl-variants-of-CHESS-LP-1480-Chuck-Berry-On-Stage.html]

We often get the same kind of questions:

I have this and this Chuck Berry record or a whole collection of Chuck Berry records. How much is it worth?

Most askers are disappointed with our reply. There are a very few records which value a significant amount. For all others the main problem is not the value but to find a collector interested who doesn't already own it.
Less and less collectors exist and for records which you paid $100 some years ago you're lucky if someone pays $10 today.
A good example is last month's auction of records and memorabilia from the collection of BBC's famous DJ "Dr. Rock". The auction company was wise enough not to offer each record on its own. Instead they created a lot of all the Berry albums.
So they offered a

Collection of 36 Chuck Berry LP records including Chuck Berry The Chess Box Set, The Latest and The Greatest, I Am A Rocker, New Jukebox Hits, One Dozen Berries, Greatest Hits, After School Session, Rockit, Chuck Berry at the Fillmore Auditorium, The London Chuck Berry Sessions x 2, The Greatest Hits Spot Records, Golden Decade Volume 3, Concerto in B Goode, You Never Can Tell, Golden Decade Volume 2, San Francisco Dues, You Never Can Tell Diploma For Two Marble Arch Records, Back in the USA Live Everest Records, Bio, Hail Hail Rock & Roll, Greatest Hits Marble Arch Records including Roll Over Beethoven, Rock & Roll Rarities from the Golden Era of Chess Records, Back Home, Chuck Berry's Golden Decade, The Blues Volume 1, Chuck Berry in Memphis, Fresh Berries, Hail Hail Rock & Roll MCA6217, Rock & Roll Rarities, Jukebox Hits, In London and Chuck Berry Americas Hottest Wax, many with copies of photographic prints of Chas White and Chuck Berry

This is an almost complete collection of Berry's UK albums from the 1960's onwards, mostly unplayed. See here.
The estimated value was 80 to 120 UK Pounds, i.e. $100 to $150. It sold for 85 UK Pounds, i.e. approximately $110 or $3/record. Go figure.

The previous blog entry was about a newly released Chuck Berry live recording which was said to stem from a KBCO broadcast in the early 1990's.

We finally found out when and where this was recorded. And the interesting thing is that it comes from a show which is in our sessionography database already.

The hint to solve the KBCO show mystery came from Thierry Chanu who saw a YouTube posting called Chuck Berry at Wolf and Rissmiller's.

Poster markbrow explains that this one-hour audio is from a live broadcast on 94.7 KMET recorded at Wolf & Rissmiller's Country Club in Reseda, CA. You hear the KMET DJs introduce and sign-off the broadcast.

Listen to the recording of Bio halfway in the show. This is the exact same recording used on the new ROXVOX album where it is labeled as "KBCO-FM, Early 90s". Also the other four songs from the so-called KBCO tape are on markbrow's tape as well.

But there's more: Listen to Sweet Little Sixteen and the Carol / Little Queenie medley. Have you heard those before? Yes! They are on the famous Westwood One radio station album, the only one containing Berry live recordings not published otherwise. The tracks were re-released on the Sheik of Chicago CD last year.

Thus thanks to markbrow's tape we now know the origin of the mystery KBCO recordings. All three recordings (YouTube, radio station album, and KBCO tape) are from the same show.

The show was recorded on January 17th, 1981 at Wolf & Rissmiller's. Berry performed two sets this day using the same backup band consisting of Jim Marsala on bass, Johnny Rivers on guitar plus unknown pianist and drummer. Some source talked about the "Billy Ciofe Band", but this is unconfirmed. Rivers is introduced by name but doesn't sing, not even Memphis, Tennessee.

Read markbrow's description on YouTube and you already see it was a great show even before listening to it. Mark Brown of the Orange County Register remembers it in an 1999 article:

Today, he barely tours, and when he does it's a short, routine set as part of some oldies package.
So what happened in 1981 that made him want to show everyone, just one last time, that he was the heart and soul of both classic and modern rock 'n' roll?
It started in January, with a live broadcast on KLOS/95.5 FM [sic] of a stunning set from the now-defunct Country Club in Reseda. That's odd enough in itself; Berry never does anything for free, much less a live-to-radio direct broadcast.
The show in the full house sounded impossibly hot, and 18 years later, the tape still sounds like barely contained anarchy - you can feel the sweat.
Fans stormed the stage, and Chuck happily shared it with them, yelling at the bouncers, "Don't hurt my children! " Even the DJs manning the broadcast were dazed and speechless, reduced to sputtering "That was a GREAT SHOW."
Huh? What was it about a boxy warehouse in the Valley that could bring Berry musically back to life? Yet incredibly, it happened one more time. Berry returned a few months later - this time to a full house, packed with people who had heard the radio show....

Compared to other audience tapes from the late 70s, early 80s, the Reseda show is nothing special. Berry plays his greatest hits and leaves the stage after exactly 60 minutes. The main difference is the very good backing band, especially Johnny Rivers and the unknown piano player.

Strangely, reader Jeff told us in 2004 about the second set he attended:

I remember the line being around the block to get in. I was 21 at the time, and had been into Chuck since I was about 12. This was the first time I had a chance to see him, although I've seen him numerous times since.
When they hit the stage, I recognized Johnny Rivers right away. He kinda stayed to himself, not moving around the stage much, just playing along with the band, and taking a solo whenever Chuck prompted him.
I remember it as a wild show, with Chuck firing on all cylinders.
Towards the end, Chuck tried to play something soft. He kept motioning to the band with his hand to play softer. But the drummer kept hammering away a steady beat. He wouldn't stop. You could tell he was upset about something. So Chuck stopped, and just looked at the guy, not knowing what to do.
Finally the drummer, and the piano guy (must've known each other) got up and walked off. That left Chuck, Rivers, and Marsala. Chuck then walked up to the mic and said, "We'll just use guitars for this song". And he ripped into Johnny B. Goode. Probably a 15 minute version. Chuck was looking like he was trying to prove a point. Angry that someone would try to upstage him, and doing it in front of that crowd.
After the song, Chuck asked if anyone in the crowd could play drums and if anyone could play piano. Two guys hopped up on stage. They played a couple more songs, and finished with Reelin' and Rockin'.
As he was playing, Chuck went over and asked the guys their names. Chuck said their names into the mic, and the place went crazy.
When he returned in April, those two guys were back in his band. Amazing.

Talking about the second show is of interest as well: The recording of Maybellene on the Westwood One radio station album is NOT the same as the one from markbrow's YouTube posting. Both sets have been recorded. The first one was broadcast live on KMET (as the DJ comments on YouTube prove). The second show (or at least part thereof) was recorded but not broadcast directly. Segments of both shows were kept for re-broadcast. CBS's Westwood One distributed Maybellene from the second show along with Sweet Little Sixteen and the Carol / Little Queenie medley from the first show on an album to radio stations nation-wide. The album was filled with recordings from a George Thorogood live show at Wolf & Rissmiller's, probably recorded a month later, February 19th, 1981. According to Wikipedia, the Chuck Berry show was the first of many live shows owner Norman J. Pattiz recorded for Westwood One.

Also the so-called KBCO tape is NOT from the KMET live broadcast. It is the same show, but in markbrow's posting on YouTube at the end of Bio there is a station identification from KMET which is not on the KBCO tape. Thus this tape was recorded from a re-broadcast, maybe on KBCO. It only has the last 30 minutes of the show though it's unclear if the first part was not broadcast or not recorded from radio.

The complete set of recordings from January 17th, 1981 thus consists of:

Maybellene (1st set) - 3:33 - KMET
Memphis, Tennessee - 3:38 - KMET
School Day - 1:59 - KMET
Roll Over Beethoven - 3:17 - KMET
Sweet Little Sixteen - 2:02 - Westwood One, KMET
Carol / Little Queenie - 7:06 - Westwood One, KMET
You Don't Have To Go / Lousiana Blues - 7:00 - KMET, last 3:27 only: KBCO
Bio - 5:27 - KMET, KBCO
Nadine - 5:45 - KMET, KBCO
Johnny B. Goode - 4:58 - KMET, KBCO
Reelin' & Rockin' / House Lights - 12:25 - KMET, KBCO
Maybellene (2nd set) - 2:15 - Westwood One

The recording descriptions in our database have been updated accordingly.

Thanks to markbrow, Thierry, and Jeff for helping to sort out these recordings.

All the fuss about the CHUCK album should not let us overlook the many other Chuck Berry releases from the last months.

When Fred informed me about the CD The Palladium New York '88 I wasn't too impressed. The Palladium show had been on the Smashing Pumpkin CD The Sheik of Chicago already which we wrote about last year. And as you know it's a high-quality but low-performance recording. Or as Fred wrote: "When you listen to it you can understand why [it has never had a legitimate release]. Chuck is renowned for performing unrehearsed and with a waywardly untuned guitar but on this particular night his fingers were also unrehearsed and untuned. While energy levels are high, the duff notes come thick and fast, falling in such infectious clusters that the pianist is tempted to join the discordance too. Add to this the thud, thud, thud of a tub thumping drummer and it's all rather disheartening." So why should we care?

Then I learned that this new release of the Palladium show is also available on Vinyl. The CD is ROXVOX RVCD2106, the Vinyl is LIVE ON VINYL LOV 2019LP.

As expected, the CD contains the same recording as last year's Smashing Pumpkin CD. It includes the radio station MC's announcement, though. And it has two bonus tracks!

The first bonus track is a very nice live recording of Bio said to be recorded for KBCO-FM of Boulder, Colorado and broadcast in the early 1990s. Recordings of this broadcast had been floating around as private tapes for long. The second bonus track called Riding Along is said to stem from the same broadcast and is also on the audience tapes noted. However, if you listen closely, this is just the plain old studio recording of No Particular Place To Go. The previously unreleased version of Bio is also on the Vinyl version which however misses four songs from the Palladium concert.

The Palladium New York '88 comes with a strange cover, as you see. In addition the track listing has many songs incorrectly named. The CD booklet does include some nicer Berry photos, though, and a reprint of both an 1987 L.A. Times interview and an 1985 biography from Associated Press which starts with "Born Charles Edward Anderson Berry in San Jose, California on January 15th 1926" ... Hey, at least they had the name right!

As said, the most interesting thing with this CD is the KBCO bonus track. I tried to research a bit about the origins of this recording but didn't succeed. So here's a summary of what I have been able to find out:

The surviving tape of the KBCO broadcast consists of five live tracks:
1: Louisiana Blues (Muddy Waters)
2: Bio (Chuck Berry)
3: Nadine (Chuck Berry)
4: Johnny B. Goode (Chuck Berry)
5: Reelin' and Rockin' (Chuck Berry) / House Lights (Chuck Berry)

Of interest is the first track as no Berry recording of this Muddy Waters tune has been released yet. The remaining are pretty standard for his 1990s concerts. Nadine comes with a lyrics change when Berry sings "I shouted to the driver: Hey conductor, you must - take me to Atlanta, Atlanta on a bus." Since Berry often changed lyrics according to the location of the concert, Atlanta might be a good guess. However, on Bio Berry claims "I'll be back here in Hollywood." This would point to an L.A. venue. Who known?

During the closing routine of Reelin' and Rockin', Berry in the "It wasn't me" segment typically talks about the drummer, the piano player or the bass man, all anonymously as he usually doesn't know their names. Here, however, Berry refers to the drummer, the bass man, and a "Johnny" the crowd cheers to. I had originally assumed this to be Berry's long-time pianist Johnnie Johnson, as there is a piano player on stage. Johnson toured with Berry in the late 1980s. But further listening reveals that the piano player is not good enough to be Johnnie Johnson.

Instead it seems to be the second guitarist who is Johnny. All five tracks, especially Bio include a second lead guitar which exchanges licks with Berry. And a good one! One source claims that this second guitar is played by Johnny Rivers, though no proof is given. It's possible, though. Rivers and Berry had several common performances, e.g. in various TV shows. Thus Berry would known him by name.

I searched around to find a concert where Berry and Rivers shared the same bill. And found one. In Colorado. In the late 1990s. And broadcast on radio. As far as I was able to find out, the only 1990s concert these two appeared on was the 1997 KOOL concert at Mile High Stadium, Denver, Colorado, on Saturday, June 14th, 1997. It seems that all KOOL concerts were recorded and broadcast by KXKL-FM (a.k.a. KOOL-105) at that time.

Now, Denver is not that far from Boulder, 1997 is not that far from 'early 1990s' and KXKL-FM is not that far from KBCO-FM. So maybe this recording wasn't "broadcast by KCBO of Boulder, Colorado in the early 1990s" but by KXKL of Denver, Colorado in 1997 instead.

But Denver would neither explain the Atlanta nor the Hollywood text change. Therefore we have to stick with the KCBO bit in our discography database until we learn better.

If you know more, let me know!

Many thanks to Frank Wilmot of the Denver Public Library and to Tyler Fey of Feyline Events Management for their help researching the Colorado concert and lineup.

You have been asking about the so-called photobook offered by Dualtone in combination with the CHUCK album.

There was absolutely no information about this book available from Dualtone except for the black cover. No Contents, no page numbers, nothing. So I finally bit the bullet and ordered one. (Note that Dualtone constantly changes the descriptions on their site. Since I ordered they included a small video of a hand browsing through the book.)

Here's my review for you to decide by yourself if you want one of not.

It is awfully expensive to get this photobook. In contrast to the early offers they at least allow ordering from outside the U.S. now. Dualtone's list price is $35 plus shipping. The cheapest shipping they offer is $23.38 to Europe. It took ten days to get me the package. Faster shipping is available at even higher costs. Shipping to your location might vary. A European buyer should thus expect at least $60 payment to Dualtone plus customs fees and taxes if they apply.

What you get is the size of an LP and has 40 sheets of paper, i.e. 80 pages. Most pages have a single image or document reproduction.

The images are often taken from Berry's own photo collection. But there are also lots of well-known images from PR shots or concerts. The quality of the photos vary a lot. While this is no surprise for seventy years old wedding photos, also newer photos have been scanned poorly or reprinted from magazines.

The selection and quality of the scanned documents vary even more. We'll see excerpts from Berry's correspondence files, some internal accounting, telegrams (wired messages) but also copies of newspaper articles or even sheet music. Many of this is damaged and seems to be taken from the burnt scrapbook Berry shows to Robbie Robertson on the Hail! Hail! Rock'n'Roll! DVD (four DVD set only, Image Entertainment ID3156THDVD, 2006).

Again there are some documents which we have seen before, but there's also some I haven't seen before. And this includes interesting stuff such as a 1957 inquiry by Elvis Presley Music, Inc. asking for Chuck to write material for Elvis.

The creators of this book were very keen to point out Berry's honors. So you'll see letters regarding Grammy and BMI awards, messages from Dick Clark, Carl Sagan, and Etta James. And you'll see thank-you letters from President Carter, from President Reagan, from Hillary and from Bill Clinton, and another from Bill, and another from the White House's Social Secretary, and ... You'll get the picture.

All in all you'll get a couple of interesting photos and documents, you'll get a lot you already know or which you don't care about. And what you don't get at all is any information on image source or contents.

Except for a few sentences in a non-signed foreword there is absolutely no text in this book. It would have been extremely helpful if not necessary to tell where a certain photo has been taken, or when, or who is shown next to Berry. Nothing. And where every book, magazine or CD booklet tries to give correct credit to the owner of a photo, here all is "from the Berry Family Archives". This is disappointing.

In summary you have to be a very enthusiastic Berry fan to enjoy the segments of the book which you don't already know. Take your time and wait until it gets cheaper - or at least sold in your country for less shipping.