History

Some reflections and some prognostications on ARRAS and The Big Beat of the 50s

(This article is a slightly revised version of "One Hundred Not Out!", by Chris Haymes, that appeared in Big Beat of the 50s edition #100, March 2006)

In March 2006 we celebrated one hundred published editions of Big Beat of the 50's. That is some achievement indeed! The first edition of the magazine was published early in 1974. The concept was very much part of the second rock'n'roll revival which had started in 1969. As the first revival, or "re-awakening", of '50's rock'n'roll, that had commenced in 1959, died down as the mid sixties approached, to be subsumed first by Soul then by Surf music, Mersybeat, The Monkees and the like; a void of knowledge grew amongst the new generation. When the "Sixties Sound" reached its peak with Woodstock in August 1969, understanding and appreciation of '50's rock'n'roll had reached its nadir. However, at the same time a series of events occurred in the US, which resulted in a rebirth of interest in, Group Harmony R&B (also known as Doo Wop), Rockabilly and solo R&B, that is the three major umbrella genres that encompass the threads that make up rock'n'roll, the "Big Beat" of the 50's.

In mid 1969 the charismatic DJ Gus Gossert, popularised the term Doo Wop and helped re-ignite interest in the whole breadth of rock'n'roll, but particularly in the R&B Group Harmony sound, with his radio shows. The long running "Time Capsule Show" on Fordham University's station WFUV, still playing to this day as The Group Harmony Review and now hosted by Dan Romanello, had a new lease of life. Many other radio stations introduced D.J.'s playing "oldies", principally the R&B Group Harmony sound. On 18 October 1969, Ralph Nader presented the first of his series of "Rock'n'Roll Revisited" concerts, at Madison Square Gardens in New York. Between 1969 and 1979 he produced 25 shows in which featured a variety of artists, such as Bill Haley and The Comets, Chuck Berry, The Five Satins, The Penguins, The Platters, Gary "US" Bonds and The Spaniels, artists who covered all genres of rock'n'roll, but with an emphasis on Doo Wop. There were also a few motion pictures that were released to exploit this interest, notably Sweet Toronto (1970), The London Rock and Roll Show (1973), and Let the Good Times Roll (1973). Contemporary with this activity were extensive reissues of the fifties material in 45 rpm and LP format on re-issue labels such as Lost Nite and Relic, and also bootleg copies, very often with carefully duplicated labels, almost identical in appearance to the original, often rare, 45's they were copied from.

Popular music magazines of the sixties, such as Rolling Stone, Crawdaddy, Fusion, and Kommotion were concentrating on the "Sixties Sound". Their writers ignored, or didn't understand the origins of rock'n'roll and what the music really encompassed. In addition, while they showed interest in such individual early rock'n'rollers such as Chuck Berry, Fats Domino, Little Richard, and Jerry Lee Lewis they saw little or no role for the Doo Wop groups of the first rock'n'roll generation and had little comprehension of Rockabilly. When these writers did look back at Doo Wop in the earlier rock'n'roll era, they seemed more intent on finding the "true auteur" of the group, to follow the incisive observations of Rob Prueter who has studied this period in depth. That is, usually discussion revolved around the composers such as Leiber & Stoller, King & Goffin, or on the producers such as Bobby Robinson, the Weis Brothers, The "Brill Building", etc., rather than in analysing the various vocal approaches of the groups. Also, because the vocal groups tended not to play instruments and had repertoires heavy on ballads and old pop standards, most later rock fans led by the rock critics tended to place the vocal groups outside the critical mainstream of rock'n'roll. The fact that the Doo Wop groups and the early R&B performers constituted the main wellsprings for the rock'n'roll revolution, was a concept that seemed to elude most of the rock writers of the day. Unfortunately, this ignorance has persisted despite the best efforts of resources such as our own magazine.

In December 1969, The Record eXchanger, the first of a series of professionally produced magazines covering 50s music appeared. The magazine surveyed "oldies" record collecting, gave biographies of group harmony Rhythm & Blues (Doo Wop) groups and other related information, with some attention given to R&B, Rockabilly and other rock'n'roll groups and artists. The magazine was published until 1983. In early 1970, Stormy Weather, named after the famous recording by the Five Sharps (see Big Beat #99) appeared and was published until 1976, followed by Bim Bam Boom (1971-1974), Big Town Review (1972-1973) and others such as Time Barrier Express (1974-1980) and Yesterday's Memories (1975-1977). It is in this context that our own magazine was born.

The first edition of Big Beat of the 50's, the official magazine of the Rock'n'Roll Appreciation Society of Australia, was published in March 1974. The editor was Paul Simons, founding father and first president of the newly formed society. From what I can glean, the first few editions were very much the product of Paul Simon's enthusiasm. The magazine is clearly named after the term Alan Freed and other 1950s DJ's often used, to refer to rock'n'roll. Art Turco had produced a mimeographed fanzine called Big Beat in Southern California in the later 1960s, which transmogrified into the first professionally produced magazine, The Record eXchanger, in 1969. The American Big Beat almost entirely concentrated on research on Doo Wop of the 1950s. Had Paul seen copies of this when he came up with the name of our magazine? Whatever, it seems that much of the impetus for the society and the magazine came in fact not directly from the US, but via the UK and Europe, where an interest in rockabilly was the main driver. The weight of articles in our early editions reflects this interest, but R&B and Doo Wop were covered as well.

I spoke at length with ARRAS life member Rob Minter, the second editor of The Big Beatof the 50's, about the early years of the magazine. Paul, Rob and the other pioneer members of ARRAS, realised that the needs of rock'n'roll music fans were not being met by the mainstream press. Things such as telling the real story of the early days of rock'n'roll, relating the histories of obscure but important artists, discussing Doo Wop groups from that era, bringing to life the magnificence of the Rockabilly performer and surveying the record collecting world surrounding the music. The earlier members of ARRAS were energised because they knew that the true story of rock'n'roll and its various forms was not being told.

I asked Rob how his interest in rock'n'roll and the formation of the society and its magazine came about. In Rob's case it seems that a love of motor sport had a lot to do with it. On a Sunday afternoon, as a young teenager Rob and his mates, used to cycle from Frankston to Baxter and sneak into the Hot Rod track and take in the action. Over the PA system the Bill Haley album would be played over and over again. It made a lasting impression and motor sport and rock'n'roll became connected in these early days. In passing we reminisced over the early Grand Prix event held at Albert Park in Melbourne1958, when the celebraty model Sabrina, who had been brought to Australia to open the event, was driven around the track in style. Rob and his mates had again snuck in gratis and observed the proceedings from the "pit area". Many of the pioneer members of ARRAS lived in the southern suburbs of Frankston, Seaford and the surrounding area and they came together to play records and discuss the music. In early 1973 Rob and Denys Williams travelled to Europe together for six months and much of their time was spent listening to bands and purchasing records and magazines. Paul Simons had originally come from the UK and brought an extensive record collection with him.

The first edition carried a lead article on Charlie Feathers. There was news on Brenda Lee, the Bo Diddly tour in Melbourne in October 1973 and lots of record reviews covering new releases of old material in LP format or re-releases, by artists including Carl Perkins, Eddie Cochran, Elvis and Shirley & Lee. Also there was "The Buddy Holly Newsletter", which was the product of Nigel Smith, president of the Buddy Holly Appreciation Society, which joined up with ARRAS in the new venture and continued to be published in the magazine until # 66, March 1991. Members mentioned in the magazine, beside Paul Simons, that wrote, or helped with the first edition were Nigel Smith, Tim Hodges, David Stabb, "Breathless" Dan Coffey, Jim Gregory, Mick Simons and Hazel Allen.

In edition two, we had a feature article on Rockabilly artist Billy Lee Riley, in edition three, a piece on Leedon Records and lead articles on Doo Wop groups The Coasters and The Turbans. Edition four, listed the first elected committee as Paul Simons (Pres/Editor), David Stabb (VP), Rose Simons (Sec), Joe and Manfred Neumann, Bob Minter, John Marshall, Mick Simons and Kevin Taylor (Committee), all of whom wrote for the magazine. Terry Reilly presented a piece on The Platters there was also an article on Duane Eddy, the second instalment of The Leedon Story and an article on The Penguins. The front cover was provided by the sole advertiser for the Magazine, Penetration Records, who were in the Tivoli arcade. Rob recalls that Penetration Records was run by a guy called Mike and had two bins of imported 45's that club members could often be found mulling over. Other places that records were purchased, and members would meet, were Coles 100th store in Bourke St, the other Coles between Elizabeth and Swanson St also in Bourke St., Clements and of course Batman's Record Bar.

Paul was editor from edition #1 (March 1974) until edition #12 (June 1977). Others who wrote in these early editions, not mentioned above, included Kevin "Squizzy" Taylor, Jim Gregory, Denys Williams, Alan Pendale, Julie Remias, Don Hudson, Graeme Flannagan, Noel McGrath, Peter Turner, Paul McPhial and John Dubber. The magazine was produced by the Gestetener method, for those of us old enough to remember, a difficult and time consuming process. Rob recalls how he and Paul Simons had to do the huge task of the typing, with two fingers, during their terms as editors. Also the great effort and fun that was had, compiling the magazines page by page (a whole days job) whilst listening to good rock'n'roll and maybe having a beer or two. The editions were typically 32 pages of type, sometimes with photograph pages, which had to be done commercially in the city, for example, in edition #8 (1975) there was a photograph of the DJ Stan Rofe, with Bill Haley on his last trip to Melbourne.

In edition #11 Paul Simons expresses his frustration at perceived disinterest amongst club members when only 5 members turned up to a function out of a total membership of over 300, 250 living in Victoria. Reflections such as this have been an ongoing theme throughout the magazine's history, particularly as presidents and editors have reached the end of their term of office.

Rob Minter assumed the dual mantel of President of ARRAS and editor of the magazine from Issue #13 (August 1977) until issue # 31. The magazine grew to 60 pages with issue #13 and there was also a change in cover design to incorporate the clubs new logo. Kevin Taylor took over as president with issue #32 and for the first time there was a separate editor, Denys Williams. These two took the club and the magazine through to Issue #43 (June, 1985). The club logo went to the back page and the practice of varying the front cover with the image of artists commenced.

With edition #44 Bill Martin took over as editor of The Big Beat of the 50's and with issue #48 (September 1986) the magazine was produced by photocopying for the first time. Professional typists Dawn Smart and Pauline Martin further improved the presentation of the magazine. Peter Thomas started as editor with issue #50, continuing until issue #70 (December 1992). Some wonderful cover designs were produced during this period and printing was done on a glossy stock, similar to the current magazine. Steve Mander's article, Vinyl Curiosities, appeared for the first time in edition #57 (December 1987) and remains a popular feature of the current magazine. In the issue #67, June 1991, the then President Chris Davis, had to report the inevitable cancellation of a club dance and suggesting that only the Magazine could survive as a vehicle for the future of the club. Bill Martin signed on again as joint editor with Peter Thomas as editor of issue 68. Issue 69 (Dec 1991) was a special recession issue of only 20 pages, with a photocopied front cover, but by issue #70 (June 1992) things were back on track and four issues came out for the year.

Up to this time four issues per year had become the norm. Eddie Leahy had taken over as president with issue 72 (September, 1992) and became editor as well. The magazine then ran into problems with timely publication, due to increased costs and limited committee assistance, and was only published infrequently over the next eight years or so.

After a long term as president and a great deal of work for the society Eddie retired and Darren Paul was acting president until a new committee could be elected. With issue #83, November 2001, things got back on track. New editor Peter Scanlon introduced computer technology for the first time, graphic design and desktop publishing by Peter Coen and the magazine was printed up on glossy stock. From that edition, thanks to the indefatigable work of Peter Scanlon and his writing and production team, the magazine has been printed regularly four times per year and has come out punctually.

Dean Price became president in 2002 and after one term Rob Hine replaced him, with his wife Kim as secretary and treasurer. In issue #88 we had our first female group on the front cover of the magazine, in the form of the fantastic Chantels. Issue #90 (August 2003) had the recently deceased, DJ legend, Stan Rofe on the front and tribute articles inside. Some interesting magazine covers in the late 90s showed a guitar fret, the legendary 78 rpm Doo Wop record, "Stormy Weather", and mixed group The Kodoks.

After edition #100 of The Big Beat of the 50's had been reached, Rob Hine stepped down after just over three years in office and a special general meeting was held where a new committee was formed with Chris Haymes at the helm. Edition #103 saw Chuck Berry on the cover to mark the 80th birthday of this rock'n'roll legend and on #104, February 2007, seminal rock'n'roll artist Ruth Brown was shown inside the central hole of an Atlantic recording to mark a dual tribute to "Miss Rhythm" and also to Atlantic Records founder Ahmet Ertegun.

In June 2007 with the new elections at the AGM, Peter Scanlon stepped down as editor of The Big Beat of the 50's after 23 consecutive editions; a massive effort on behalf of the club. Christina Louise Dicker took over the role for two years. Appropriately her first cover was of female rockabilly legend Wanda Jackson who was touring the East Coast of Australia at the time. Following Christina's two consecutive terms, the Editorial role was then handed back to Peter Scanlon, who continues in that role to this day.

When I asked Rob Minter, foundation member and the second ARRAS president, what he thought of the current magazine. He said he was very impressed, but he remembers how difficult discographies were to obtain in the early days and he would always like to see them in our articles. Rob recalls with humour the member who would always write in letters criticising minor mistakes in discography's such as leaving out the dash in Coronet KS-159. Rob, whilst not wishing to criticise, would also like to see the emphasis in the magazine always devoted to articles about the artists of the 1950s and the records they produced and less space devoted to peripheral areas, dances and live performances. Finally I asked Rob if he saw a future for the magazine and the society, to which he replied "absolutely"!

Acknowledgments :

Anthony Gribbin & Matthew M. Schiff. Doo Wop. The Forgotten Third Of Rock'n'Roll. Kraus, 1992.

Robert Preuter. A history of doowop fanzines. Popular Music and Society. Spring, 1997.

Various authors Big Beat of the 50s. No 1 - 110, Melbourne, 1974 - 2008.

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