I wonder how many of you have The Overstory by Richard Powers. A large cast of characters all connected in one way or another to (or obsessed with) a tree or trees or forests. I'm only 140 pages into a 500 page book but loving it. So far only one character is identified, obliquely, as autistic, but they almost all feel wonderfully familiar to me.
Thursday, August 1, 2024
Sunday, April 14, 2024
From One Blog to Another: Dietmar Rudolph Reviews My Book
Thank you to the amazing Dietmar Rudolph, who took time to buy, read, and review my book My So-Called Disorder: Autism, Exploding Trucks, and the Big Daddy of Rock and Roll. Read his wonderful review BY CLICKING HERE. (And thanks to another Chuck Berry scholar, Fred Rothwell, for the back cover testimonial.)
Wednesday, August 16, 2023
Wednesday, June 21, 2023
Загадка (A Mystery!)
The other day I came home to the strangest package I have ever received--a package with a thousand stamps!
A package from Russia! From someone I don't know!
The package was very light. At first I thought it contained a used Chuck Berry CD I had recently purchased-- From St. Louie to Frisco.
Nope-- but I was on the right track. Opening the package was a delicate operation. Two pieces a foam, and in between them a sort of sheer plastic envelope. And inside that-- a soviet era record sleeve.
But no record! Or so I thought. Instead of a record I found the X-rays of two healthy looking hands.
And sure enough, you can see that the two hands look like the hands of a DJ manipulating a record!
And not just any record--a Chuck Berry record! You Never Can Tell! You can see Chuck's name in this shot if you look closely near the thumbs.
My greatest thanks to whoever sent this! There is a return address. It might take a while to find something anywhere near as cool, but it will arrive there someday!
Wednesday, March 22, 2023
My So-Called Disorder On Sale Now
If you like this blog I encourage you to buy a copy of my book My So-Called Disorder: Autism, Exploding Trucks, and the Big Daddy of Rock and Roll, available now on Amazon and other online retailers. The back cover tells you a lot about it, and includes a testimonial from Chuck Berry scholar Fred Rothwell, author of Long Distance Information--Chuck Berry's Recorded Legacy.
You've probably seen television shows where the autistic kid knows all about bugs or the Antarctic. For me when I was fourteen, it was Chuck Berry. And we're talking more than 50 years ago, long before the internet, and 50 years before I knew I was autistic.
Spoiler alert: the book features stories and material you may have read here. But it also tells how I used my autistic ability to form "special interests" into a successful career on my own, somewhat odd and flexible terms.
If you happen to be autistic, or if you love or work with someone who is, it might be interesting and worth a read.
And I'll sell it to you for fifty thousand dollars! (the low, low price of $19.95!
Sunday, March 19, 2023
Chuck Berry: A Great American Artist's Life
I finally read my copy of Chuck Berry: An American Life. I wasn’t in a rush. There were other books above it in the pile, and when you get down to it, I know as much as any outsider can know about this particular American life. (That’s autism for you.) What I appreciate about the book, I suppose, is that the author, RJ Smith, recognizes the greatness and the complexity of the man. What I appreciate less is having to follow the same old same old path, and then to learn one or two things too many about that life. The great lawyer Bryan Stevenson, who represents death row inmates, has said, “Each of us is more than the worst thing we’ve ever done.” I believe that. And I know that Chuck Berry is a million times more than the tawdriest things he ever did. So why tell them, especially when they were private and consensual?
On the other hand, this is the first book to reveal to me what a terrible driver he was, so there’s that. Who would have thought the man who wrote so eloquently about cars would be so incompetent at driving them. Even Blueberry Hill’s Joe Edwards tells a tale of going the wrong way on a Los Angeles freeway at 70 mph?
And the book makes an attempt to answer every alleged scandal and alleged tawdriness or nastiness with some sort of reminder that Chuck Berry faced a host of difficulties and injustices during his long life.
But what his long life and his incredible body of work actually deserve is a celebration, pure and simple.
Once I bought volume one of a gigantic biography of Elvis Presley. I couldn’t actually read it but I skipped through and read parts. And I was surprised to find a paragraph about young Elvis spying on young women changing into their bathing suits at one of his homes. There was a lens built into the room that Elvis evidently used.
This never became a part of Elvis’s legend—it was just a paragraph in a book the size of Game of Thrones or War and Peace.
But the tawdry crap has become the be all and end all of the Chuck Berry story. I wonder why? I wonder why the difference?
On a personal note it appears Mr. Smith stole something from this blog and never credited it among the copious footnotes. I will go out on a limb and say there’s no way Smith figured out that young Chuck was observing an eclipse of the Sun in 1938. He took that from this blog. Once upon a time Peter K. of Sweden sent me a wonderful photo of young Chuck using a telescope in broad daylight. I figured out he was observing the sun. Peter K. went farther and found two eclipses in St. Louis when Chuck was twelve. And the lovely Rebecca did some American history and practical math with Chuck and CBII to determine the year (more or less!) That merited a footnote. I mean, whole pages were wasted on whether the ding-a-ling belonged to Charles or Dave.
So if you’re looking for the best in Chuck Berry writing, look no further. It’s right here. Original. And free.
And if you're looking for Chuck himself, spin a record. It's right there, original, and free.
Sunday, March 5, 2023
My So-Called Disorder
In a few weeks you will be able to find my book, "My So-Called Disorder: Autism, Exploding Trucks, and the Big Daddy of Rock and Roll," online at sites like Amazon, or by ordering it at your local bookshop. I'm more than a little proud.
If you ever thought my interest in Chuck Berry was oddly intense, it's because, like me, you didn't know that I am autistic. But last year, around this time, I learned that I am, and suddenly my whole life made sense.
I've had a life of very intense interests, both personal and professional. And now I know why.
And I'll be telling you all about it. In the book. Available March 20, 2023, wherever truly fine books are sold.
And that Big Daddy of Rock and Roll (that rubber legged guy?) does play a role.
Talk soon!
Thursday, July 6, 2017
CHUCK
One thing I loved about the new album “Chuck” even before I opened it was the cover: a beautiful drawing of an iconic photo and the name “Chuck” up top in block letters that look, to me, like the most common Black Lives Matter poster around Seattle. I’m reasonably sure the resemblance isn’t deliberate, but I like it. And I like the picture— Chuck Berry in his early 1970s prime doing a thoughtful split in full rock and roll regalia. It was a picture I first saw back in 1972 when I opened the new London Sessions album, and one I stared out for many hours as a teenager.
Opening the cover is just as rewarding, with two beautiful black and white photos of the elder chuck, one in a prayerful or just tired looking pose in front of a mirror in what looks like a restaurant booth, and another with Chuck embracing his banged up, scratched up, doctored up old Gibson.
Below the photos something important: credits showing that the Berry family and the musicians who backed Chuck Berry for decades in St. Louis and internationally are the main performers on the album. This made me instantly glad. I remember back in 1973 purchasing T-Bone Walker’s last studio album, a massive and polished thing produced by Lieber and Stoller featuring Lieber and Stoller songs and dozens of great jazz and blues musicians. They used T-Bone Walker’s voice. It was sweet, I still like it. I loved where for a moment he spoke, saying “Thibaud! Thibaud! It’s a French name!” But the record didn’t match the man.
This record, on the other hand, is pure Chuck Berry, but treated with all the love and dignity his band and family and Dualtone records could provide him. There are a few “stars” (notably Gary Clarke, Jr. and singer Nathaniel Radcliffe) but the real stars are the songs, Chuck himself, and the production. What stunned me right off the bat was the sound— strong, deep, with a ton of bass, great drumming, a touch of reverb, and the sort of rippling, rollicking piano you heard on early Chuck Berry. It’s a record I like to turn up loud enough that the neighbors probably hear it, and every crank on the volume just makes it sound better.
Which is a miracle considering how it evidently was made, from Berry’s tapes, with other most musicians filling in their parts later.
I love all Chuck Berry records one way or another, and grew up on the “new” Chuck Berry records of the 1970s, but I also always felt that some of those had a flat feel, or showed inconsistencies when a single album drew from different sessions with different bands and different studios. Here there’s a consistent whole. It’s an album— the best Chuck made since 1970’s Back Home. The sound is consistent, modern, but with the feel of his early stuff. And there’s a little of everything you think of when you think of Chuck Berry: the well written boogie rockers, a few blues, a bluesy standard, some country, a funny live performance, a poem, female harmonies, and one wonderful bit of 1950s style country choir. A perfect ending.
It starts with Wonderful Woman, which starts with a vibrato chord on the keyboard and then an exuberant shout from Chuck: “Oh well, lookie here now, this just makes my day!” And of course, it’s a woman, or some combination of his wife Themetta and every wonderful woman Chuck Berry ogled from stage.
Big Boys comes next— a song about a little kid figuring out what the big boys (and girls) do. It’s the catchiest song on the album with a descending double string guitar lick that works its way into your ear quickly and excited cries of “Yes! Yes! Yes! Yes!” from Chuck and backup singer Nathaniel Radcliffe.
The next two, although covers and not Chuck Berry songs, are my favorites. You Go To My Head is a jazz standard done Chuck Berry style. It reminds me of the standards he played during rehearsals for Hail! Hail! Rock & Roll, but with a thumping blues beat. Love in 3/4 Time (Enchiladas) was a crowd favorite at Blueberry Hill, a funny waltz with what I assume are some new added lyrics. Its images are nearly perfect for Chuck, with red guitars and El Dorados and a funny line about software and hardware.
Darlin’ is another favorite of mine. I first read about it years ago in The New Yorker. (The writer was visiting Chuck while Chuck made quick phone arrangements for his last Seattle show— a quickie visit to replace the ailing Jerry Lee Lewis at the EMP. I was there!) It’s a great song sung to (and with) his daughter about growing older to a loping, western beat.
The rest, for me, are a little like the minor characters on Gilligan’s Island in the show’s original theme song (“and the rest”) but I like them all well enough. Lady B. Goode be pretty goode. She Still Loves you sounds great, but the lyrics don’t quite cut it for me. Jamaica Moon is cute but Havana Moon was better. Dutchman’s chief value for me is that Chuck Berry acknowledges he wrote music that some consider superb. And Eyes of a Man is chiefly wonderful to me for that voice, but when I heard Charles, Jr. discuss it in a television interview I began to understand it better (men's work crumbles, women's work endures). But they are all good, and I’m happy to let the CD play on. (I haven’t played the LP yet, but I’d wear out Side A several times before I put a crackle on Side B.)
Jimmy Marsala, who played more shows with Chuck Berry than anyone, plays great bass throughout; Keith Robinson supplies the best drums for Chuck since the days of Odie Payne and Fred Below; and Robert Lohr on piano resurrects the spirits he learned from: Otis Spann, Lafayette Leake, Johnnie Johnson and Professor Longhair. Berry family members Ingrid, Charles and Charlie all add their parts, which are especially perfect because Chuck Berry’s music was always a family affair, on stage, and often, with his sister and daughter, in the recording studio.
As a lifelong fan I could hardly have hoped for a better ending— an honest, adult, great sounding record with a couple of first rate new Chuck Berry songs and a lot of good ones, a summing up, in a beautiful package. Thank you Mr. Berry! Hail! Hail! Grammy time!
Saturday, June 10, 2017
The Band B. Perfect
This picture, which I've not done justice by reproducing with my phone, was taken by my friend Doug, at Blueberry Hill, and does a perfect job illustrating the beautiful musical and working relationship of drummer Keith Robinson and Chuck Berry. Robinson was the best drummer I ever saw live playing with Chuck Berry, and the two of them obviously loved playing off one another. Chuck never lost a bit of his rhythm on stage, and he loved bouncing riffs off a drummer who could match him.
I just saw a hack review of CHUCK in Rolling Stone magazine. Rolling Stone has some great political writing, but it rarely did justice to Chuck Berry. Except for a collage that included virtually everyone, he made the cover only once before he died, back in 1969. I don't guarantee this, but my fading memory tells me that The Captain and Tenille also made the cover at least once.
But it wasn't just the covers. Rolling Stone also blew the reviews. As I recall, their write up of the mostly brilliant album "Back Home" complained that Chuck Berry had not kept pace with the music he invented-- that he hadn't "grown." "Back Home" was a great Chuck Berry record-- a joyous return to Chess Records after a three year stint at Mercury-- with Lafayette Leake on piano and Phil Upchurch on bass and more swing than you could find in the rest of 1970 combined.
After that, and after his death, you'd think the magazine would try to make it up to the guy who started what they write about, but not so much. Easier to fall back on the same old bullshit. At best, an appearance or two in Random Notes, and an occasional (and these I appreciated) ranking in Top 100 Guitarists, or Song Writers, or Whatever. And of course, he made the cover again when he couldn't see it.
Anyway, in the hack review the hack reviewer calls the backup on CHUCK a "bar band" and suggests that the album could have been improved with a drummer like Charlie Watts.
No disrespect from me to Charlie Watts. He's great. But the drumming on CHUCK is great, too; a perfect fit, with all the pounding, beautiful energy of the best early Chuck Berry records. And so is the "bar band"-- a core of incredible professionals who've put down the best rhythm section I've heard on a Chuck Berry record since the 1950s and early 1960s.
Yes, they've played in a a lot of bars. And if you've been to some of those bars, you'll know that St. Louis has some of the best blues and r&b in the world.
But better yet, they played with Chuck, for years, and in one case, for decades. He couldn't have found, hired, recruited a better band for the last Chuck Berry album anywhere.
So, Rolling Stone writer. Thelonious Monk's band were often "bar bands." B.B. King's bands were "bar bands." Muddy Waters' band was a "bar band." And so, in his final years, was Chuck Berry's.
But none of them were hacks.
Friday, May 19, 2017
Bye Bye Johnny B. Goode
When I gave the picture to Chuck he was visibly excited. He said something like "Ooh, wee! Where'd you get this?" Then he said, "I'm going to show it to my friends, and you're going to be there when I do!" And off he went, running down the hallway to another hall where a bunch of people enjoyed his reaction to the picture. What made it even better is that my friend Doug was there, and my wife, who did some math with Chuck and his son to determine the date. (American history and practical math. We lived it!).
Here's the thing: You never know when you'll see a person you love for the last time.
I wasn't able to go to Chuck Berry's funeral, and I never went to another show, so it turns out that was the last time I ever saw the man. He was glorious that evening. He'd just put on a very good show. He was dressed all in black, with a black leather jacket and dark glasses. And the very, very last thing he did, before he went down the hall and into the street, was to stand in front of me, lift his dark glasses, and say "You look like Seattle!" And then he was gone, like a cool breeze.
Whatever that means, I'll take it. And what a blessing to have my last glimpse of Chuck Berry be up close, personal and so direct. Thank you again, Mr. Berry.
Sunday, March 19, 2017
Friday, July 8, 2016
Johnny B. Interesting: An Interview wtih Johnny Buschardt
Johnny at the site of the Cosmopolitan in East St. Louis. |
Tuesday, February 3, 2015
He WAS a Contender! He COULD have been anything! Bob Dylan Talks About Chuck Berry.
Saturday, November 22, 2014
Jack Hadley Talks about The St. Louis Sessions
For a year or two now I've been remotely following a Colorado musician named Jack Hadley after first hearing about him from Bob Lohr. A few months later things started heating up with word of recording sessions and big Italian meals in St.. Louis's Hill neighborhood. A couple weeks ago I got my hands on the results, a CD called Jack Hadley: The St. Louis Sessions, and decided it was time to revive the website again. After all, here's a record that includes a couple of Chuck Berry's current musicians, recorded by one of his older ones right in Mr. Lohr's "Blues Rock Ground Zero." So I sent Mr. Hadley some questions and got back golden prose. So, buy the CD HERE. And enjoy!