Chuck Berry

Chuck Berry was an American singer, songwriter and guitarist, and one of the pioneers of rock and roll music. Nicknamed the "Father of Rock and Roll", Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive with songs such as "Maybellene" (1955), "Roll Over Beethoven" (1956), "Rock and Roll Music" (1957) and "Johnny B. Goode" (1958). Writing lyrics that focused on teen life and consumerism, and developing a music style that included guitar solos and showmanship, Berry was a major influence on subsequent rock music. Born into a middle-class African-American family in St. Louis, Berry had an interest in music from an early age and gave his first public performance at Sumner High School. While still a high school student he was convicted of armed robbery and was sent to a reformatory, where he was held from 1944 to 1947. After his release, Berry settled into married life and worked at an automobile assembly plant. By early 1953, influenced by the guitar riffs and showmanship techniques of the blues musician T-Bone Walker, Berry began performing with the Johnnie Johnson Trio. His break came when he traveled to Chicago in May 1955 and met Muddy Waters, who suggested he contact Leonard Chess, of Chess Records. With Chess, he recorded "Maybellene"—Berry's adaptation of the country song "Ida Red"which sold over a million copies, reaching number one on Billboard magazine's rhythm and blues chart.

Berry was among the first musicians to be inducted into the Rock and Roll Hall of Fame on its opening in 1986; he was cited for having "laid the groundwork for not only a rock and roll sound but a rock and roll stance."[8] Berry is included in several of Rolling Stone magazine's "greatest of all time" lists; he was ranked fifth on its 2004 and 2011 lists of the 100 Greatest Artists of All Time.[9] The Rock and Roll Hall of Fame's 500 Songs That Shaped Rock and Roll includes three of Berry's: "Johnny B. Goode", "Maybellene", and "Rock and Roll Music".[10] Berry's "Johnny B. Goode" is the only rock-and-roll song included on the Voyager Golden Record.

Born in St. Louis,[12] Berry was the youngest child. He grew up in the north St. Louis neighborhood known as the Ville, an area where many middle-class people lived. His father, Henry William Berry (1895–1987) was a contractor and deacon of a nearby Baptist church; his mother, Martha Bell (Banks) (1894–1980) was a certified public school principal.[13] Berry's upbringing allowed him to pursue his interest in music from an early age. He gave his first public performance in 1941 while still a student at Sumner High School;[14] he was still a student there in 1944, when he was arrested for armed robbery after robbing three shops in Kansas City, Missouri, and then stealing a car at gunpoint with some friends.[15][16] Berry's account in his autobiography is that his car broke down and he flagged down a passing car and stole it at gunpoint with a nonfunctional pistol.[17] He was convicted and sent to the Intermediate Reformatory for Young Men at Algoa, near Jefferson City, Missouri,[12] where he formed a singing quartet and did some boxing.[15] The singing group became competent enough that the authorities allowed it to perform outside the detention facility.[18] Berry was released from the reformatory on his 21st birthday in 1947.

On October 28, 1948, Berry married Themetta "Toddy" Suggs, who gave birth to Darlin Ingrid Berry on October 3, 1950.[19] Berry supported his family by taking various jobs in St. Louis, working briefly as a factory worker at two automobile assembly plants and as a janitor in the apartment building where he and his wife lived. Afterwards he trained as a beautician at the Poro College of Cosmetology, founded by Annie Turnbo Malone.[20] He was doing well enough by 1950 to buy a "small three room brick cottage with a bath" on Whittier Street,[21] which is now listed as the Chuck Berry House on the National Register of Historic Places. By the early 1950s, Berry was working with local bands in clubs in St. Louis as an extra source of income.[21] He had been playing blues since his teens, and he borrowed both guitar riffs and showmanship techniques from the blues musician T-Bone Walker.[23] He also took guitar lessons from his friend Ira Harris, which laid the foundation for his guitar style. By early 1953 Berry was performing with Johnnie Johnson's trio, starting a long-time collaboration with the pianist.[25][26] The band played blues and ballads as well as country. Berry wrote, "Curiosity provoked me to lay a lot of our country stuff on our predominantly black audience and some of our black audience began whispering 'who is that black hillbilly at the Cosmo?' After they laughed at me a few times they began requesting the hillbilly stuff and enjoyed dancing to it.

In May 1955, Berry traveled to Chicago, where he met Muddy Waters who suggested he contact Leonard Chess, of Chess Records. Berry thought his blues music would interest Chess, but Chess was a larger fan of Berry's take on "Ida Red".[28]. On May 21, 1955, Berry recorded an adaptation of the song "Ida Red", under the title "Maybellene", with Johnnie Johnson on the piano, Jerome Green (from Bo Diddley's band) on the maracas, Jasper Thomas on the drums and Willie Dixon on the bass. "Maybellene" sold over a million copies, reaching number one on Billboard magazine's rhythm and blues chart and number five on its Best Sellers in Stores chart for September 10, 1955. Berry said, "It came out at the right time when Afro-American music was spilling over into the mainstream pop." At the end of June 1956, his song "Roll Over Beethoven" reached number 29 on the Billboard's Top 100 chart, and Berry toured as one of the "Top Acts of '56". He and Carl Perkins became friends. Perkins said that "I knew when I first heard Chuck that he'd been affected by country music. I respected his writing; his records were very, very great."[31] In late 1957, Berry took part in Alan Freed's "Biggest Show of Stars for 1957", touring the United States with the Everly Brothers, Buddy Holly, and others.[32] He was a guest on ABC's Guy Mitchell Show, singing his hit song "Rock 'n' Roll Music". The hits continued from 1957 to 1959, with Berry scoring over a dozen chart singles during this period, including the US Top 10 hits "School Days", "Rock and Roll Music", "Sweet Little Sixteen", and "Johnny B. Goode". He appeared in two early rock-and-roll movies: Rock Rock Rock (1956), in which he sang "You Can't Catch Me", and Go, Johnny, Go! (1959), in which he had a speaking role as himself and performed "Johnny B. Goode", "Memphis, Tennessee", and "Little Queenie". His performance of "Sweet Little Sixteen" at the Newport Jazz Festival in 1958 was captured in the motion picture Jazz on a Summer's Day.

By the end of the 1950s, Berry was a high-profile established star with several hit records and film appearances and a lucrative touring career. He had opened a racially integrated St. Louis nightclub, Berry's Club Bandstand, and invested in real estate.[34] But in December 1959, he was arrested under the Mann Act after allegations that he had had sexual intercourse with a 14-year-old Apache waitress, Janice Escalante,[35] whom he had transported across state lines to work as a hatcheck girl at his club.[36] After a two-week trial in March 1960, he was convicted, fined $5,000, and sentenced to five years in prison.[37] He appealed the decision, arguing that the judge's comments and attitude were racist and prejudiced the jury against him. The appeal was upheld,[6][38] and a second trial was heard in May and June 1961,[39] resulting in another conviction and a three-year prison sentence.[40] After another appeal failed, Berry served one and one-half years in prison, from February 1962 to October 1963.[41] He had continued recording and performing during the trials, but his output had slowed as his popularity declined; his final single released before he was imprisoned was "Come On".

When Berry was released from prison in 1963, his return to recording and performing was made easier because British invasion bands—notably the Beatles and the Rolling Stones—had sustained interest in his music by releasing cover versions of his songs,[43][44] and other bands had reworked some of them, such as the Beach Boys' 1963 hit "Surfin' U.S.A.", which used the melody of Berry's "Sweet Little Sixteen".[45] In 1964 and 1965 Berry released eight singles, including three that were commercially successful, reaching the top 20 of the Billboard 100: "No Particular Place to Go" (a humorous reworking of "School Days", concerning the introduction of seat belts in cars),[46] "You Never Can Tell", and the rocking "Nadine".[47] Between 1966 and 1969 Berry released five albums for Mercury Records, including his second live album (and first recorded entirely onstage), Live at Fillmore Auditorium; for the live album he was backed by the Steve Miller Band. Although this period was not a successful one for studio work,[50] Berry was still a top concert draw. In May 1964, he had made a successful tour of the UK,[46] but when he returned in January 1965 his behavior was erratic and moody, and his touring style of using unrehearsed local backing bands and a strict nonnegotiable contract was earning him a reputation as a difficult and unexciting performer.[51] He also played at large events in North America, such as the Schaefer Music Festival, in New York City's Central Park in July 1969, and the Toronto Rock and Roll Revival festival in October.

Berry returned to Chess from 1970 to 1973. There were no hit singles from the 1970 album Back Home, but in 1972 Chess released a live recording of "My Ding-a-Ling", a novelty song which he had recorded in a different version as "My Tambourine" on his 1968 LP From St. Louie to Frisco.[54] The track became his only number-one single. A live recording of "Reelin' and Rockin'", issued as a follow-up single in the same year, was his last Top 40 hit in both the US and the UK. Both singles were included on the part-live, part-studio album The London Chuck Berry Sessions (other albums of London sessions were recorded by Chess's mainstay artists Muddy Waters and Howlin' Wolf). Berry's second tenure with Chess ended with the 1975 album Chuck Berry, after which he did not make a studio record until Rockit for Atco Records in 1979, which would be his last studio album for 38 years. In the 1970s Berry toured on the strength of his earlier successes. He was on the road for many years, carrying only his Gibson guitar, confident that he could hire a band that already knew his music no matter where he went. AllMusic said that in this period his "live performances became increasingly erratic, ... working with terrible backup bands and turning in sloppy, out-of-tune performances" which "tarnished his reputation with younger fans and oldtimers" alike.[34] In March 1972 he was filmed, at the BBC Television Theatre in Shepherds Bush, for Chuck Berry in Concert,[56] part of a 60-date tour backed by the band Rocking Horse.[57] Among the many bandleaders performing a backup role with Berry in the 1970s were Bruce Springsteen and Steve Miller when each was just starting his career. Springsteen related in the documentary film Hail! Hail! Rock 'n' Roll that Berry did not give the band a set list and expected the musicians to follow his lead after each guitar intro. Berry did not speak to the band after the show. Nevertheless, Springsteen backed Berry again when he appeared at the concert for the Rock and Roll Hall of Fame in 1995. At the request of Jimmy Carter, Berry performed at the White House on June 1, 1979. Berry's touring style, traveling the "oldies" circuit in the 1970s (often being paid in cash by local promoters) added ammunition to the Internal Revenue Service's accusations that Berry had evaded paying income taxes. Facing criminal sanction for the third time, Berry pleaded guilty to evading nearly $110,000 in federal income tax owed on his 1973 earnings. Newspaper reports in 1979 put his 1973 joint income (with his wife) at $374,982.[58] He was sentenced to four months in prison and 1,000 hours of community service—performing benefit concerts—in 1979.

On March 18, 2017, Berry was found unresponsive at his home near Wentzville, Missouri. First responders called to the scene were unable to revive him, and he was pronounced dead by his personal physician.[70][71] TMZ posted an audio recording on its website in which a 911 operator can be heard responding to a reported cardiac arrest at Berry's home. Berry's funeral was held on April 9, 2017, at The Pageant, in Berry's hometown of St. Louis.[73][74] He was remembered with a public viewing by family, friends, and fans in The Pageant, a music club where he often performed, with his cherry-red guitar bolted to the inside lid of the coffin and with flower arrangements that included one sent by the Rolling Stones in the shape of a guitar. Afterwards a private service was held in the club celebrating Berry's life and musical career, with the Berry family inviting 300 members of the public into the service. Gene Simmons of Kiss gave an impromptu, unadvertised eulogy at the service, while Little Richard was scheduled to lead the funeral procession but was unable to attend due to an illness. The night before, many St. Louis area bars held a mass toast at 10 pm in Berry's honor. One of Berry's attorneys estimated that his estate was worth $50 million, including $17 million in music rights. Berry's music publishing accounted for $13 million of the estate's value. The Berry estate owned roughly half of his songwriting credits (mostly from his later career), while BMG Rights Management controlled the other half; most of Berry's recordings are currently owned by Universal Music Group.[76] In September 2017, Dualtone, the label which released Berry's final album, Chuck, agreed to publish all his compositions in the United States.

A pioneer of rock and roll, Berry was a significant influence on the development of both the music and the attitude associated with the rock music lifestyle. With songs such as "Maybellene" (1955), "Roll Over Beethoven" (1956), "Rock and Roll Music" (1957) and "Johnny B. Goode" (1958), Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive, with lyrics successfully aimed to appeal to the early teenage market by using graphic and humorous descriptions of teen dances, fast cars, high school life, and consumer culture,[3] and utilizing guitar solos and showmanship that would be a major influence on subsequent rock music.[2] Thus Berry, the songwriter, according to critic Jon Pareles, invented rock as "a music of teenage wishes fulfilled and good times (even with cops in pursuit)."[79] Berry contributed three things to rock music: an irresistible swagger, a focus on the guitar riff as the primary melodic element and an emphasis on songwriting as storytelling.[80] His records are a rich storehouse of the essential lyrical, showmanship and musical components of rock and roll. In addition to the Beatles and the Rolling Stones, a large number of significant popular-music performers have recorded Berry's songs.[3] Although not technically accomplished, his guitar style is distinctive—he incorporated electronic effects to mimic the sound of bottleneck blues guitarists and drew on the influence of guitar players such as Carl Hogan,[81] and T-Bone Walker[3] to produce a clear and exciting sound that many later guitarists would acknowledge as an influence in their own style.[69] Berry's showmanship has been influential on other rock guitarists,[82] particularly his one-legged hop routine,[83] and the "duck walk",[84] which he first used as a child when he walked "stooping with full-bended knees, but with my back and head vertical" under a table to retrieve a ball and his family found it entertaining; he used it when "performing in New York for the first time and some journalist branded it the duck walk."

ALTOSAXO

Search This Blog

Chuck Berry

Comments

Post a Comment