Chuck Berry -- The B Side
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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