Everything you wanted to know about the songs of Chuck Berry but never dare enquire about. This is a chronological sessionography covering the period 1954-1998 with song-by-song analysis and comment, taking on board material recorded for Chess, Mercury, bootlegs and beyond. Fred Rothwell examines each Berry session, analyses the material with regard to its musical worth and value, excavates the roots or influences of each song and, where required, the historical or cultural circumstances which may have impacted on the song or session. It is captivating stuff even though there are odd occasions when the term "laundry list" could be applied, but in a study covering 350 pages they are few and far between...

Many liken books of this nature to trainspotting. That may be so, but for me they have the distinct advantage of bringing added insight and understanding of the artist all of which drew me like a magnet to (in my case) the records. I haven't played so many Chuck Berry discs for years.

Finally, the last fifty pages feature indices of his chart, TV, film and video appearances and list all cover versions. If you are a Berry fan you'll want this book. In the words of the man himself "Let It Rock".

Alan Balfour, Blues In The South (May 2001)

An altogether compelling book that deserves to be recognized as such.

Paul Jones (Jazz FM)

'Long Distance Information chronicles every known Chuck Berry recording session – every record, every song from 1954 to 1998. The story begins with Joe Alexander & The Cubans, with whom Chuck made a record before signing for Chess (though Chuckie boy himself denies it). It ends with what might hopefully be the last in a long line of dodgy live recordings (in this case, a bootleg of an August '98 show in Denmark). But whatever the session, be it 'Sweet Little Sixteen' or 'Johnny B Goode' for the first or the umpteenth time, author Fred Rothwell is unsparing in his attention. The amount of detail is considerable.

In addition to the speculation as to why Chuck wrote and played the way he did at any particular time, there are the more concrete details regarding session musicians, chart positions and subsequent cover versions. Not only that, but there are photos and press cuttings galore and for the benefit of those who have been living on another planet, blow-by-blow descriptions of the songs themselves. But it is the mass of 'I never knew that' detail which makes the book such compulsive reading. There can't be many who know that Chuck Berry was born in Goode (as in B. Goode) Avenue, St. Louis. and that Russ Fratto, who with Chuck and Alan Freed shared the composing credits to 'Maybellene', was none other than the stationery supplier to Chess. Or that in 1957, 'School Day' was covered by Big Tiny Little from Lawrence Welk's band, and that stereo pressings of the 1967 UK Marble Arch LP 'You Never Can Tell' featured an alternative take of 'Around And Around' that's never been issued anywhere else. These are just a few of the many tit-bits of information scattered throughout the book.

We also get detailed discographies from around the world, sections on Chuck's film and notable TV appearances, a piece dealing with influences on his music, chart listings, movies which have featured him on the soundtrack and so on. And, like Chuck's own book ('The Autobiography', published in 1987), 'Long Distance Information' is not without humour. Of 'You Never Can Tell', he writes: "As regards the 'stereo remix'. there isn't a gnat's knob of difference between the two versions." Commenting on one particular percussionist's disintegrating lack of ability on a 1982 live recording, he comments' "The drumming is by now reduced to nailing slats on a fence."

Rothwell knows his way around Berry's lyrics too and often drops in lovely little extracts just at the right place Writing about his hero's second stretch in the slammer (February 1962–October 1963) for employing an under-age Indian prostitute at his club in St. Louis: "He thought it would be a good idea to add a little colour to Club Bandstand by hiring an Apache girl he had met in El Paso as a little cutie to check your hat (and you can thank her, ma'am!)" Those who don't get it need to listen to 'Carol' again.

He isn't afraid to be critical either. He lists the bizarre 1966 Mercury track 'Oh Captain', a song about a football quarterback, as being "...in the running for Chuck Berry's worst-ever record", and recommends it "for schizoid sports fans only". His thoughts on the 1979 disco-styled re-cut of 'Havana Moon'? "It is just plain awful – sacrilege of the worst order. Chuck has made some duff recordings in his time and this is definitely one of them!" But when it comes to the real good stuff he is unstinting in his praise: "If 'Too Much Monkey Business' and 'Brown Eyed Handsome Man' are icons of rock n roll and 'Roll Over Beethoven' a masterpiece. then 'Johnny B. Goode' is the whole National Gallery!"

Chuck has always been something of an enigma – and there is plenty here to feed any number of theories as to why this might be so. Is he disillusioned? Who knows? Chuck has never been rated by blues fans as highly as Elmore James, T-Bone Walker or any of his other influences. He has spoken in glowing terms of his fondness for Nat 'King' Cole, but Chuck will never be remembered for his ballads. At times he can appear infuriatingly indifferent and all too often prepared to sit back and let the audience do the work: something that his other great hero, Louis Jordan, would never do.

Yet for all that Chuck Berry has an unassailable position in rock n roll. John Lennon's aphorism. "Don't give me any sophisticated crap, give me Chuck Berry", is as true today as it ever was and rock stars throughout the generations would say the same. And since deeds speak louder than words let it be remembered that The Rolling Stones, allegedly the "world's greatest rock n roll band", have made a staggering total of 72 separate Chuck Berry recordings.

There is really only one way to read this excellent book, and that's with the Chuck Berry record collection blasting away in the background. Forget all the sleeve notes, the articles. the inserts and the CD booklets, Fred Rothwell's 'Long Distance Information' is the ultimate commentary.

Chris Woodford, Now Dig This (June 2001)

As George Thorogood said, "Why should I write songs' Chuck Berry wrote them all."

Chuck Berry was the first and greatest of rock'n'roll's guitar-playing, songwriting stars, and his musical genius was the foundation for the hierarchy of British rock'n'roll. The Beatles and the Stones and so many other performers sailed into the heart of rock stardom on the artery of his influence. Status Quo admit that they owe almost their entire repertoire of riffs and licks to him.

There have been four books on Chuck Berry which have blipped on the consciousness of the aficionado. Apart from Berry's self-penned autobiography, they have been an incomplete ragbag of hagiographical inconsistency. Many people have attempted to fathom Berry's character: most have been playing with their own ding-a-ling – like the interviewer sent by the BBC's Omnibus programme to interview him in St Louis. He opened the interview by asking the guitar-slinger ultissimo about his times in the slammer. Berry got up and walked away. Too right.

Chuck obviously would not walk away from Fred Rothwell, whose book will be seized upon by everyone who loves rock 'n' roll as the music of eternal youth. He writes with insight and humour on the development of Berry's music and evocative lyrics; yes, from a chronological and discographical perspective, but also conveying the man's wit and intelligence. The research is immaculate and the detail fascinating – and the guy can write, too, holding the attention to the end.

Charles White, Mojo (July 2001)

Were you to consider 'Long Distance Information' as a pure discography, you'd surely miss the point of Fred Rothwell's view on Chuck Berry's recorded legacy. Of course the idea of a music reference book based upon an artist's recording sessions is not new – for example I have similar works on the Beatles, Eric Clapton and Jimi Hendrix from major publishers. Fred takes this basic premise and combines anecdotal biographical text within an extremely comprehensive discography. To a certain degree the approach compartmentalizes the text and many would see this as a bad thing: concentrating upon the events before and during a session, reducing the sense of overall perspective. It does however present the reader with digestible portions of information ideal for reference purposes – the book is easy to read in several sittings. While this is a book by a fan for both established and aspiring fans of Mr. Berry, you must not expect the sycophantic prose that often prevails in books such as this. Fred acknowledges that some readers will go for the prurient content; he skilfully neither glamourises nor glosses over Chuck's troubled personal life. He presents the facts in a simple manner, explaining without excusing. But then this book is not a biography.

Though he has seen him perform many times, Fred's only meeting with Chuck came after a 1987 gig at the Hammersmith Odeon. From that encounter came the germ of the idea for this celebration of Chuck's work. The brief introductory section begins with Fred's recollection of that evening and with a chapter entitled 'Trials And Tribulations: The Chuck Berry Story'. We learn the truth over Muddy Waters' involvement in directing Berry toward the Chess label and ends the folklore surrounding the mythical jam session. The text chronicles major events and traumas in Chuck's life up until the nineties. Though not in depth, the result is a pretty decent entry for anyone's encyclopaedia.

I will confess that I, as will many others, turned straight to the second section: 'The Sessionography'. This describes all ninety-three known sessions involving Chuck Berry. Each entry follows the same format: session number, artist as credited, musicians involved in the recordings, location and date, and discographical detail (matrix number, title and issue). Following the list, Fred adds a narrative description of the session and his candid assessment of the results. Nor does he pull any punches in his opinions. From Session 24 (1960): ' 'Stop And Listen' has got to be one of Chuck Berry's worst recordings ever, and certainly one of the worst from his tenure at Chess... The song has been described as 'haunting', 'haunted' is nearer the mark...' You'll find out that 'Down The Road Apiece' and 'Confessin' The Blues' were cut at the same date, and that Matt Murphy played guitar at those Chicago sessions. Any standard discography would, of course, present the same facts. However in 'Long Distance Information' Rothwell also includes composer credits for each song title. This addition is for the most part extremely welcome, the caveat here is in believing what artists or labels claim and subsequently print on sleeves, etc. The innocent and enthusiastic first British issue of Chuck's Chess material provided source for some of the composer information – later revised elsewhere. That said, of the items I could check reliably, I found very, very few errors.

The Golden Decade of Berry's tenure at Chess from 1954 until 1966, including forty sessions, represents the rise and rise of his music and its influence. Only towards the end of this period did the quality slip – Fred's commentary is as perceptive on the duds as it is on the gems. The three years (fourteen sessions) at Mercury had Chuck alternately reworking his early songs or working new ones in a then contemporary funky fashion. The recordings with Steve Miller provided examples of both approaches – none too successful. After four years, Chuck was back with Chess to cut what would be the last half-decent tracks of his career. Over the seventeen sessions he began with the cracking 'Tulane', nose-dived into the excrement with 'Ding-A-Ling' to rise again with the 'Bio' album. Neatly, Fred charts these developments. His text here is fascinating such as when commenting on the 'London Sessions', choosing the participants (...the marzipan of British rock...) and songs (...a closet bluesman who loved to sing 'em the way he felt 'em...). The final part of the sessionography brings the story of Chuck's recorded legacy up to date. The centrepiece is the celebration of Berry's sixtieth birthday with an all-star concert. By turns irascible and charming, Chuck is pitched into a sparring match with Keith Richard, a situation not helped by the obvious irony in the choice of protagonists. Many of the sessions listed here correspond to variable quality European bootlegs where Chuck was backed with pickup bands of varying commitment.

Singles, EPs and albums are listed in the third section, 'Chuck Berry On Record' – each one is cross-referenced to the session number. This practice will, I hope, become standard for all discographies in future. Of lesser interest, Section Four presents his chart statistics taken from Billboard, Cashbox, Record Mirror and Music Week. The next section documents film and video appearances, followed with a section listing composers and songs that influenced him, and a section counting covers of Chucks compositions (Morten Reff will shortly list these versions in detail). The book ends with a bibliography and six indices to the sessionography.

'Long Distance Information' is a wonderful exhaustively researched record of Chuck Berry's legacy. The tone of the book is that this is a companion to the music – the one being complemented by the other. In so doing Fred RothwelI has set a new standard for music reference and documentary.

Gary Hearn, Blues & Rhythm (August 2001)

Fascinating look at Berry's work.... great detail.

John Clarke, The Times (August 2001)

This book provides a better insight into Chuck Berry than any other book that has gone before... Author Rothwell clearly knows his subject and imparts the knowledge in a clear and concise but readable fashion. The book also includes the most complete Chuck Berry discography that I have ever seen... It is all pretty fascinating stuff, very interesting and never dull. It probably cannot be read or absorbed in one or two readings, but as a reference book with a good cross-index, it is invaluable.

American Music Magazine (September 2001)

This is probably as near to perfection as you can get for a record collector-orientated biography. That it deals with one of the major figures in the annals of rock 'n' roll is only an added bonus. Based around every known recording session cut by Chuck, the book is at the same time a major discographical work. It is also lavishly illustrated with photos, adverts, label shots, contains chart details of Berry's recordings, lists cover versions, releases, just about every bit of data you could wish for. The author analyses the music, as he progresses through the Berry story, often bringing a touch of humour to the proceedings. Published by Music Mentor, which was set up by Bo Diddley author George White after all the hassles he experienced in getting his book published, one can but admire his entrepreneurial spirit in bringing this superlative work to us – more power to his elbow. This book sets the standard for any subsequent biography on rock 'n' roll artists, and it's hard to see anyone surpassing the efforts of Fred Rothwell. Come to think of it, who is going to write the Duane Eddy story, surely an overdue tome?

Adam Komorowski, Kommotion 2000 (September 2001)

This is a well-researched book that will delight hardcore Berry followers and also provide more than passing interest to more casual R'n'R fans. Following a very brief overview of the man's career, it launches into the main meat of chronologically presented lists of sessions from Berry's very first in August 1954 up to August 1998. These 93 session stories give full song and release details where appropriate, as well as relevant stories attached to the time and the songs.

This is all followed by some 90 pages of chart details, indexes, cover versions listings, media references and all the details that make dipping in and researching so pleasant (and time-consuming). Rothwell's writing style is enthusiastic... with explanatory and chatty brackets abounding, but so comprehensive is the tightly-packed information that this does not detract too much.

The sessions from the 50s are supported by a fascinating collection of US trade paper ads and rare photos. although with later work this reverts to label and cover shots. Berry's long-term sideman, pianist Johnnie Johnson, is given appropriate reverence, and the different phases of Chuck's career are addressed informatively.

The only section which perhaps could have been expanded is Chuck's influence on other artists, as evidenced by the tantalising half-dozen quotes on the back cover, which hint at the power and imagery of Berry's broad palate of lyrics.

The man's enduring legacy is well served with this publication.

Kingsley Abbott, Record Collector (October 2001)

Ce livre est un "must" pour tout fan de Chuck Berry

Jean-Pierre Ravelli, Soul Bag (France, Autumn 2001)

Een fantastisch informatief boek.

Block (Netherlands, Autumn 2001)

Long Distance Information: Chuck Berry's Recorded Legacy contains just about everything you ever wanted to know about Chuck Berry, but were afraid to ask (or didn't know where to look)! A member of both The Rock And Roll Hall Of Fame (1986) and the M.C. Handy Awards' Blues Hall Of Fame (1985), Berryites know fully well how important his Chess recordings were.

Some of us may even argue that his Chess recordings between 1955 and 1966 were his only important recordings. In Long Distance Information, author Fred Rothwell – in all his honesty (and humor) – lays it down exactly as he hears it. The book's title refers not only to a lyric contained in the Chuck Berry song "Memphis Tennessee," but also to how Rothwell approached this music ("through headphones whilst reclining on a velvet chaise longue"). In some ways, the title also refers to the guitarists, songs and singers that influenced Berry. All of this information is interwoven into the text.

The music is described in standard discographical order, beginning with Session 1 (his August 1954 recording with Joe Alexander & The Cubans) to Session 93 (a live concert recording in August 1998). The many indexes refer to these session numbers. As much as possible, complete listings of session personnel are included, and each song is evaluated, and when appropriate, it is noted which songs by other artists influenced Berry's songwriting.

Most of the entries include details about the cover versions of Berry's songs, lending credence to his fame (and fortune) and to the songs that have made him immortal. You'll find out the true (and not the usual untrue) stories behind songs such as "Maybellene," "Rock At The Philharmonic," "Run Rudolph Run" and many others. He also discusses the claims that pianist Johnnie Johnson has on some of Berry's songs. Regrettably, Berry's early drummer Ebbie Hardy is no longer alive (he died in 1983) to resolve some of the discographical questions.

Even if he has a cynical attitude, is uncooperative and, let's face it, not your best live performer (it doesn't help that he rarely rehearses), this book is essential reading for his many fans. His songs were some of first to speak directly to American teenagers.

Eric S. LeBlanc, Goldmine (December 2001)

To say this is the definitive work on the musical career on one of the few true geniuses popular music has known is a gross understatement.

DISCoveries (December 2001)

This is a simply wonderful book for any Chuck Berry fan. Fred Rothwell has compiled into one volume just about everything that any collector of Chuck Berry records could possibly want to know, and more. Set out session by session, the format forms an interesting chronological history of Berry's recording career and is also ideal for dipping into for information on any particular song or recording session, but that is only the start.

The unusual format of this book is that its 'chapters' are Chuck's individual recording sessions. Each is logged in the usual discographical format with musicians, location, date, matrix, title, composer and issue numbers, followed by text which discusses each recording. Any influences, or probable influences on the compositions are discussed in a knowledgeable manner, and some really in-depth research has been done in this area. Artists, dates and issue numbers of records Berry probably heard in his youth are listed, as are records he possibly remembered and maybe drew snatches from later. Where Chuck has covered an older composition recorded by several artists, the most likely source of his version is named. This fascinating research shows some songs to have been recorded even earlier than is usually presumed, and by the most obscure of artists.

Each individual song or instrumental, including alternatives, is then reviewed as only a long-standing and deeply committed Berry devotee possibly could. As one myself, I feel that I learned something new from every single 'chapter', indeed from almost every song review. Fred Rothwell points out so many things which connect once they are pointed out, making this book a joy to read for those familiar with the records. Cover versions of importance are discussed, as well as the success of Chuck's singles in every chart, US and UK.

One of the most surprising revelations is the existence of three different incarnations of the UK Marble Arch 10 track budget LP: mono, stereo (in part), and the rogue 12-track disc with two stereo alternatives, one still only available on this album, and neither listed on sleeve or label. I must never again flip past those Marble Arch LPs at record fairs!

The session 'chapters' are preceded by a short Berry biography which manages to set out briefly Chuck's trials and tribulations for those unfamiliar with them, and the book is finished off in fine style with yet more Chuckography! Film posters and details, TV appearances – and everything is indexed – song titles, music publishers, record issues, cover versions, etc etc etc. This really is Berry anorak heaven.

This is the definitive Chuck Berry book, and a first class study of its subject. A compelling read for any R&B or rock 'n' roll collector and an essential volume for all Chuck Berry fans. I could hardly put it down.

Dave Clarke, Juke Blues (February 2002)

No-one who has read Chuck Berry's autobiography thought there was anything new to be said on the subject. After all, we have Chuck's own words and thoughts on paper, and no-one was closer to the action than the man himself. That was, until Fred Rothwell's book Long Distance Information was published, and it built on the known facts and added more.

Mentor Music Books, who originally published the plush volume, report they have a huge surge of interest in the hook as the media frenzy grows over Chuck's 80th birthday in October.

Sub-titled Chuck Berry Recorded Legacy it details every recording session, every out-take and every sideman playing on the record. It also re-tells Chuck's own story in a light and easy-¬to-read fashion, and it's clear from page one that author Fred Rothwell is a major fan, dotting his prose with lines from Berry classics.

His research is impeccable even if some of the results are frightening. It was not Sweet Little Sixteen, Johnny B. Goode or School Days (Hail, Hail Rock'n' Roll) which provided his biggest hit, but the terrible live recording of My Ding-a-¬Ling. The LP from which it was taken was also his best selling album. Fred traces the history of individual songs and tracks that are not Berry originals, and probably has more detail than the man himself.

In addition to a great read, the book doubles as major source of reference to the birthday boy, with highly detailed indices which means you can trace every musician and manager that Chuck ever came across, and you can find a reference to almost every cover of a Chuck Berry song that was issued.

Steve Hooker, who features in these pages often, gets a name check for his treatment of 13 Question Method, a great Chuck song that otherwise only attracted the attention of Ry Cooder when it came to a cover.

Fred pulls no punches, this is warts 'n all, no airbrushing over unpleasant truths. Chuck has been, let us say, sometimes less than meticulous over the quality of some of his live shows, and that is reflected in the book.

But sometimes, as Fred says, he pulls the genie out of the bottle, which is why we keep going to see him time after time after time with the hope that this will be the night he is blessed with a totally proficient backing band, a decent sound system, and the mood to engage with his audience.

At 80, Chuck still has a full date sheet, so we all wish him Berry Happy Returns and the hope he can keep on doing it as long as he wants.

UK Rock (October 2003)