Monday, May 17, 2010
Guaranteed to Raise a Smile. (And the Roof!)
When I was a kid I used to think the song “Sergeant Pepper” described Berry’s situation.
They’ve been going in and out of style,
But they’re guaranteed to raise a smile.
But the truth is that Chuck Berry never went out of style. His name has always been in lights.
The records didn’t always sell. He had three clear bursts of record sales— 1955-1960, 1964-1965, and 1972, and it probably would have been an uninterrupted selling spree from 1955 to 1965 if it weren’t for a prison sentence that he didn’t deserve.
But in between and after the record sales he was always out doing concerts, keeping his name “in lights.”
In 1964 he made two tours of Europe, focusing, it seems, on England, where his influence was huge and fresh. Groups like The Beatles, The Rolling Stones, and many others were recording his songs and talking up his music to the press.
In October 1964 he was part of the T.A.M.I. show, a live concert that included Marvin Gaye, James Brown, Bo Diddley, and the Rolling Stones. It came out as film, probably in 1965, and was releseased recently on DVD. (Berry’s performances are short but very sweet—but unfortunately the cameras focus on the go-go dancers behind him.)
Then, in 1966 or 1967, things take a new turn. Berry is courted by San Francisco’s Bill Graham and becomes a staple headliner at the Fillmore. The pay sounds incredibly bad to me, but the venue introduces Berry to an important audience—boomers born a bit too late for the original hits, but who probably heard “Nadine” and “No Particular Place to Go” as teeny boppers. This is a big wave that runs from brother Stevo, who introduced me to Chuck Berry, all the way to me, and “My Ding-a-Ling.” (Actually his ding-a-ling. My curse.) Berry was suddenly bigger than ever, playing mega-shows like the Toronto festival, and able to let his music mature a bit. He played more blues, and his guitar playing became more and more refined. For me, these are the golden years of Chuck Berry guitar.
Throughout the 1970s and 1980s he kept touring regularly, always a headliner now. He was part of the Richard Nader “Rock and Roll Revivals” (got himself into serious tax troubles) and worked as a single doing shows all over the country with a pickup band or, if you were lucky, with The Woolies.” Then Casinos, and State Fairs. And Europe—always Europe, and Asia, and South America.
Now the legend began to grow. He was and remains a fixture in Rolling Stone’s incessant lists of “greatest.” Best Guitar Songs—“Johnny B. Goode” comes in at number one. It’s on the “best songs” list as well, and he’s way up there on the lists of “best guitarists” and “all time best.” He even gets a credible shout out on the “best singers” list, and more recently his Blueberry Hill performances were listed as reason number 9 to be excited about the current state of rock and roll.
In the 21st century books started coming out, including two full scale biographies, “Brown Eyed Handsome Man” by Bruce Pegg and “Chuck Berry” by John Collis. There are also a couple of books about the music, including “Long Distance Information: Chuck Berry’s Recorded Legacy,” by Fred Rothwell.
And, of course, Blueberry Hill, one of his coolest moves ever, where month after month Chuck Berry has played shows at a tiny venue in his home town of St. Louis that can’t be too profitable, but which have become legendary for their spirit—fun, loving shows with a stable house band and fans that come from around town and around the world to see and hear a legend.
And finally: three wonderful nights in Brazil, where he's apparently gone for three years running, playing to ecstatic crowds.
He just just keeps going. All told, 55 years—an incredible legacy— and the name has been in lights just about the entire time. Pretty cool. (I've already seen my "last" Chuck Berry show three times, and I plan to see a few more!)
And no accident. In this case, I’d say 99% inspiration, and 101% perspiration.
Good job, Mr. Berry. And thank you.