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Chuck Berry -- The B Side


xxmikexx

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You know all the A sides, I'm not going to repeat them. But here are some terrific Chuck Berry pieces that you may not have heard ...

 

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First, "Havana Moon". The author of "Louie, Louie" says he was inspired by this piece, which can be heard here ...

 

 

In this piece you can hear Berry's preferred bottom accompaniment -- a string bass. (Even after electrics came on the scene he continued his love affair with the upright.) Another interesting thing about the orchestration of this piece is that there are no drums, no piano, as would be normal for a Chuck Berry recording.

 

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Here's a piece featuring the normal Chuck Berry lineup of drums, bass, piano, and a second guitar, "Little Queenie" ...

 

http://www.youtube.com/watch?v=G_Be_ioAYtU&feature=related

 

However, if you watch it through to the end you will have it confirmed, as I did, that this is a lip-synced scene from an Alan Freed rock movie. (I think it was "Don't Knock The Rock".) You see, Chuck Berry's piano player was a black gentleman named Johnny Johnson, not the white guy you see in the background.

 

Similarly, while I don't know the name of Chuck Berry's regular session drummer (it will have been the Chess Records house drummer), i DO know the name of his session backup guitarist -- Bo Diddley.

 

That's right, folks. On essentially every Chuck Berry record you have ever heard, if there's a second guitar running it will be Bo Diddley. Listen to this, "Memphis" as rendered by the author himself, Chuck Berry. (And you thought it had been written by Johnny Rivers, didn't you.) ...

 

... D-word ... I can't find the original recording, but if you hear it you'll see (gr?) that Bo Diddley was playing backup rhythm guitar in Berry's unique style.

 

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In the late 50s I used to go to many of the rock shows in NYC so I got to see Chuck Berry several times. He never played a song the same way twice. The take of "Maybelline" that we're all familiar with was in fact Take 37, and you can be sure that it was recognizably different from (and better than) all the takes that preceded it.

 

Let's see ... Thirty-seven takes. If we assume that some of the takes were abandoned half way through, we're probably talking about 2x37 = 74 minutes of time. Most likely they had a tape machine running and they simply kept it running through the whole session, which probably lasted four hours if you count breaks, maybe going to 60 takes in all. That would have been heaven for me -- listening to all those interpretations by by the author himself. Here's a typical live concert variation ...

 

 

You will recall, of course, that Take 37 sounds like Take One, as completely fresh as if he had just walked into the studio. Berry loved to play, and he loved his own songs. Take this live performance of "Johnny B. Goode" ...

 

http://www.youtube.com/watch?v=AEq62iQo0eU&feature=related

 

and this one ...

 

http://www.youtube.com/watch?v=R0YUA3yTUss

 

His enthusiasm was infectious, kids would always be dancing in the aisles, and he was such a dynamite performer that he would always close the show. Nobody repeat nobody ever dared to follow him.

 

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It was Chuck Berry who converted me to rhythm guitar. Before him I had been copping Scotty Moore riffs (Elvis), but the first time I heard "Roll Over Beethoven" (56?) I was immediately transported to the rhythm section where I remain to this day. (And you thought that John Lennon wrote that song, didn't you.)

 

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And now for something completely different ...

 

"Maybelline" was Take 37 but Leslie Gore's "It's My Party" was Take One. Yes, for her first recording session ever, this 16-year old girl from central NJ walked into the famous Atlantic Records studio on West 57th street with her mom, listened to Quincy Jones' runthrough of the arrangement with the band, and then laid the whole thing down in one take. As I recall, Jones ended the session right there. What would have been the point of continuing?

 

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Finally, when I began to write this piece I had intended to present what is perhaps my favorite Chuck Berry original recording, "Around And Around". However, the original is not up on any of the usual sites. But a number of covers are because this, ladies and gentlemen, is a piece that musicians love, like "In The Midnight Hour".

Edited by xxmikexx

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You left out one of my favorites of Chuck Berry.....My Ding-a-ling! I've got a recording that goes over 11 minutes. Good stuff.
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What's your second favorite? I'd like to get together on this but even though "My Ding-A-Ling" was his biggest selling record, I can't get with the program.
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Well, I DID say "one" of my favorites. I guess if I had to pick just one, it'd be JOHNNY B GOOD.
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Yes, that's absolutely classic Chuck Berry, from when he was just hitting his stride.

 

I should have mentioned earlier that I had a large music biz autograph collection (a story for another day) but that I never was able to get Chuck Berry's -- he simply brushed me (and everybody else) off every time.

 

He was a bitter man. Having served time for his Mann Act violation, he believed that he had been prosecuted (by rednecks) only because he was a) a black man and b) playing demonic music.

 

I don't disagree. You will remember the mood of the mid 50s, when many people still considered rock to be "race music" and were opposed to the music and its performers, and especially to non-white performers, for that reason alone.

 

Anyway, all he ever wanted to do was get in, do his show and get out. If his later career was any guide he would have insisted on being paid cash in hand, in advance, or he would have refused to go onstage. But those things said, the man was an incredible performer, and if you click on any of the live concert links you'll see how much he loved working an audience even if he wanted no contact with people as individuals.

 

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Unlike James Brown and Bo Diddley, who continued to tour right up to their deaths, Chuck Berry has given up touring. Instead he gives unannounced unplugged peformances to people who come by a certain bar? cafe? in the North Saint Louis district know as ... Blueberry Hill.

 

So now we know what those Fats Domino lyrics were referring to. I suppose he was honoring a place that may have given him is professional start.

 

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One of the sad things that happened re Hurricane Katrina is that Fats lost all his gold records. I don't know whether they were stolen, or lost in the flood, or if something else happened. There was a movement afoot to get him replacements but I haven't heard anything since that very short news story.

 

Yes, I did get his (Fats) autograph. Amazing hands -- short fat fingers which clearly would have constrained his playing style. Heck -- we can hear it in his records -- as deserving of the monicker "slowhand" as Eric Clapton.

Edited by xxmikexx
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Oh, I remember the Fifties quite well. I have a large selection of 50s stuff on the computer that I listen to now and again. Get teary-eyed every time. I remember my Dad wasn't too happy with my listening to that "stuff" back then. My Mother on the other hand is probably responsible for my love of music. She always had something on the "Victrola" from the previous era: Benny Goodman, et al.
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Victrola ...

 

We had one. My father, an alcoholic, bought it so he could play Tex Ritter's "Rye Whiskey" over and over and over, which was fine with me -- fine singer, fine song.

 

We also had an Edison wax cylinder playback machine but I can't recall what was on the cylinders. (We only had a few.)

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