Chuck Berry
Chuck Berry | |
---|---|
Born | Charles Edward Anderson Berry October 18, 1926 St. Louis, Missouri, U.S. |
Died | March 18, 2017 near Wentzville, Missouri, U.S. | (aged 90)
Resting place | Bellerive Gardens Cemetery, St. Louis |
Other names | Father of Rock N' Roll |
Occupations |
|
Spouse |
Themetta Suggs (m. 1948) |
Children | 4 |
Musical career | |
Genres | |
Instrument(s) |
|
Discography | Chuck Berry discography |
Years active | 1953–2017 |
Labels | |
Website | chuckberry |
Charles Edward Anderson Berry (October 18, 1926 – March 18, 2017) was an American singer, guitarist and songwriter who pioneered rock and roll. Nicknamed the "Father of Rock and Roll", he 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).[1] 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.[2]
Born into a middle-class black family in
By the end of the 1950s, Berry was an established star, with several hit records and film appearances and a lucrative touring career. He had also established his own St. Louis nightclub, Berry's Club Bandstand.[5] He was sentenced to three years in prison in January 1962 for offenses under the Mann Act—he had transported a 14-year-old girl across state lines for the purpose of having sexual intercourse.[3][6][7] After his release in 1963, Berry had several more successful songs, including "No Particular Place to Go", "You Never Can Tell", and "Nadine". However, these did not achieve the same success or lasting impact of his 1950s songs, and by the 1970s he was more in demand as a nostalgia performer, playing his past material with local backup bands of variable quality.[3] In 1972, he reached a new level of achievement when a rendition of "My Ding-a-Ling" became his only record to top the charts. His insistence on being paid in cash led in 1979 to a four-month jail sentence and community service, for tax evasion.
Berry was among the first musicians to be inducted into the
Early life
Born in
On October 28, 1948, Berry married Themetta "Toddy" Suggs, who gave birth to Darlin Ingrid Berry on October 3, 1950.
By the early 1950s, Berry was working with local bands in clubs in St. Louis as an extra source of income.
By early 1953, Berry was performing with Johnnie Johnson's trio, starting a long-time collaboration with the pianist.[26][27] 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."[13]
In 1954, Berry recorded the tracks "I Hope These Words Will Find You Well" and "Oh, Maria!" with the group Joe Alexander & the Cubans. The songs were released as a single on the Ballad label.[28]
Berry's showmanship, along with a mix of country tunes and R&B tunes, sung in the style of Nat King Cole set to the music of Muddy Waters brought in a wider audience, particularly affluent white people.[3][29]
Career
1955–1962: Signing with Chess: "Maybellene" to "Come On"
In May 1955, Berry traveled to Chicago, where he met Muddy Waters who suggested he contact
When Berry first saw a copy of the Maybellene record, he was surprised that two other individuals, including DJ Alan Freed had been given writing credit; that would entitle them to some of the royalties. After a court battle, Berry was able to regain full writing credit.[34][35]
At the end of June 1956, his song "
The opening guitar riff of "Johnny B. Goode"[39] is similar to the one used by Louis Jordan in his "Ain't That Just Like a Woman" (1946).[39] Berry acknowledged the debt to Jordan and several sources have indicated that his work was influenced by Jordan in general.[40][41][42]
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.[43] 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,[44] whom he had transported across state lines to work as a hatcheck girl at his club.[45] After a two-week trial in March 1960, he was convicted, fined $5,000, and sentenced to five years in prison.[46] 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][47] and a second trial was heard in May and June 1961,[48] resulting in another conviction and a three-year prison sentence.[49] After another appeal failed, Berry served one and one-half years in prison, from February 1962 to October 1963.[50] 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".[51]
1963–1969: "Nadine" and move to Mercury
When Berry was released from prison in 1963, his return to recording and performing was made easier because
Although this period was not a successful one for studio work,[59] Berry was still a top concert draw. In May 1964, he had made a successful tour of the UK,[55] 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.[60] 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.[61]
1970–1979: Back to Chess: "My Ding-a-Ling" to White House concert
Berry helped give life to a subculture ... Even "My Ding-a-Ling", a fourth-grade wee-wee joke that used to mortify true believers at college concerts, permitted a lot of twelve-year-olds new insight into the moribund concept of "dirty" when it hit the airwaves ...
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.[63] 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.[64]
In the 1970s, Berry toured on the strength of his earlier successes. He was on the road for many years, carrying only his
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.[67] He was sentenced to four months in prison and 1,000 hours of community service—performing benefit concerts—in 1979.[68]
1980–2017: Last years on the road
Berry continued to play 70 to 100 one-nighters per year in the 1980s, still traveling solo and requiring a local band to back him at each stop. In 1986, Taylor Hackford made a documentary film, Hail! Hail! Rock 'n' Roll, of a celebration concert for Berry's sixtieth birthday, organized by Keith Richards.[69] Eric Clapton, Etta James, Julian Lennon, Robert Cray, and Linda Ronstadt, among others, appeared with Berry on stage and in the film. During the concert, Berry played a Gibson ES-355, the luxury version of the ES-335 that he favored on his 1970s tours. Richards played a black Fender Telecaster Custom, Cray a Fender Stratocaster and Clapton a Gibson ES 350T, the same model that Berry used on his early recordings.[16]
In the late 1980s, Berry bought the Southern Air, a restaurant in Wentzville, Missouri.[70] In 1982, Berry performed a television special at The Roxy in West Hollywood with Tina Turner as his special guest. The concert was released a year later on home video.[71]
In November 2000, Berry faced legal issues when he was sued by his former pianist Johnnie Johnson who claimed that he had co-written over 50 songs, including "No Particular Place to Go", "Sweet Little Sixteen" and "Roll Over Beethoven", that credit Berry alone. The case was dismissed when the judge ruled that too much time had passed since the songs were written.[72]
In 2008, Berry toured Europe, with stops in Sweden, Norway, Finland, the United Kingdom, the Netherlands, Ireland, Switzerland, Poland, and Spain. In mid-2008, he played at the
Berry lived in Ladue, Missouri, approximately 10 miles (16 km) west of St. Louis. He also had a home at "Berry Park", near Wentzville, Missouri where he lived part-time since the 1950s and was the home in which he died. This home, with the guitar-shaped swimming pool, is seen in scenes near the end of the film Hail! Hail! Rock 'n' Roll.[75] He regularly performed one Wednesday each month at
Berry announced on his 90th birthday that his first new studio album since Rockit in 1979, entitled Chuck, would be released in 2017.[76] His first new record in 38 years, it includes his children, Charles Berry Jr. and Ingrid, on guitar and harmonica, with songs "covering the spectrum from hard-driving rockers to soulful thought-provoking time capsules of a life's work" and dedicated to his wife Toddy.[77]
Physical and sexual abuse allegations
In 1987, Berry was charged with assaulting a woman at New York's Gramercy Park Hotel. He was accused of causing "lacerations of the mouth, requiring five stitches, two loose teeth, [and] contusions of the face." He pleaded guilty to a lesser charge of harassment and paid a $250 fine.[78]
In 1990, he was sued by several women who claimed that he had installed a video camera in the bathroom of his restaurant. Berry claimed that he had had the camera installed to catch a worker who was suspected of stealing from the restaurant. Although his guilt was never proven in court, Berry opted for a class action settlement. One of his biographers, Bruce Pegg, estimated that it cost Berry over $1.2 million plus legal fees.[16] His lawyers said he had been the victim of a conspiracy to profit from his wealth.[16]
Reportedly, a police raid on his house found intimate videotapes of women, one of whom was apparently a minor. Also found in the raid were 62 grams of
Death
On March 18, 2017, Berry was found unresponsive at his home near Wentzville, Missouri. Emergency workers called to the scene were unable to revive him, and he was pronounced dead by his personal physician.[80][81] 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.[82]
Berry's funeral was held on April 9, 2017, at The Pageant, in Berry's home town of St. Louis.[83][84] He was remembered with a public viewing by family, friends, and fans in The Pageant. He was viewed with his cherry-red Gibson ES-335 guitar bolted to the inside lid of the coffin[85] 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.[86]
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.[87] In September 2017, Dualtone, the label which released Berry's final album, Chuck, agreed to publish all his compositions in the United States.[88]
Berry is interred in a mausoleum in Bellerive Gardens Cemetery in St. Louis.[89]
Legacy
While no individual can be said to have invented rock and roll, Chuck Berry comes the closest of any single figure to being the one who put all the essential pieces together. It was his particular genius to graft country & western guitar licks onto a rhythm & blues chassis in his very first single, "Maybellene".
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)."[92] 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.[93] 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,[94] 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.[79] Berry's showmanship has been influential on other rock guitarists,[95] particularly his one-legged hop routine,[96] and the "duck walk",[97] 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."[98][99]
On July 29, 2011, Berry was honored in a dedication of an eight-foot, in-motion Chuck Berry Statue in the Delmar Loop in St. Louis right across the street from Blueberry Hill. Berry said, "It's glorious—I do appreciate it to the highest, no doubt about it. That sort of honor is seldom given out. But I don't deserve it."[100]
Rock critic
When asked what caused the explosion of the popularity of rock 'n roll that took place in the 1950s, with him and a handful of others, mainly him, Berry said, "Well, actually they begin to listen to it, you see, because certain stations played certain music. The music that we, the blacks, played, the cultures were so far apart, we would have to have a play station in order to play it. The cultures begin to come together, and you begin to see one another's vein of life, then the music came together."[106]
Among the honors Berry received were the
Berry is included in several of
The journalist Chuck Klosterman has argued that in 300 years Berry will still be remembered as the rock musician who most closely captured the essence of rock and roll.[118] Time magazine stated, "There was no one like Elvis. But there was 'definitely' no one like Chuck Berry."[119] Rolling Stone called him "the father of rock & roll" who "gave the music its sound and its attitude, even as he battled racism—and his own misdeeds—all the way," reporting that Leonard Cohen said, "All of us are footnotes to the words of Chuck Berry."[120] Kevin Strait, curator of the National Museum of African American History and Culture in Washington, DC, said that Berry is "one of the primary sonic architects of rock and roll."[121]
According to Cleveland.com's Troy L. Smith, "Chuck Berry didn't invent rock and roll all by his lonesome. But he was the man who took rhythm and blues and transformed it into a new genre that would ever change popular music. Songs like 'Maybellene,' 'Johnny B. Goode,' 'Roll Over Beethoven' and 'Rock and Roll Music' would showcase the core elements of what rock and roll would become. The sound, the format and the style were built on the music Berry created. To some extent, everyone who followed was a copycat."[122]
In 2020, the International Astronomical Union named a small crater on Mercury after Berry.[123]
Discography
Studio albums
- After School Session (1957)
- One Dozen Berrys (1958)
- Chuck Berry Is on Top (1959)
- Rockin' at the Hops (1960)
- New Juke Box Hits (1961)
- Two Great Guitars (with Bo Diddley) (1964)
- St. Louis to Liverpool (1964)
- Chuck Berry in London (1965)
- Fresh Berry's (1965)
- Chuck Berry's Golden Hits (1967)
- Chuck Berry in Memphis (1967)
- From St. Louie to Frisco (1968)
- Concerto in B. Goode(1969)
- Back Home (1970)
- San Francisco Dues (1971)
- The London Chuck Berry Sessions (1972)
- Bio (1973)
- Chuck Berry (1975)
- Rockit (1979)
- Chuck (2017)
References
Citations
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General and cited sources
- Berry, Chuck (1988). Chuck Berry: The Autobiography. New York: Fireside/Simon & Schuster. OCLC 17918633.
- Pegg, Bruce (2003). Brown Eyed Handsome Man: The Life and Hard Times of Chuck Berry. Routledge. ISBN 0-415-93751-5. Archived from the original on February 16, 2021. Retrieved November 28, 2015. p. 144 Archived March 19, 2017, at the Wayback Machine p. 173 Archived June 27, 2014, at the Wayback Machine p. 262 Archived February 16, 2021, at the Wayback Machine
Further reading
- Christgau, Robert (March 22, 2017). "Yes, Chuck Berry Invented Rock 'n' Roll – and Singer-Songwriters. Oh, Teenagers Too". Billboard. Retrieved March 24, 2017.
- Fryer, Paul H. (1981). ""Brown-Eyed Handsome Man": Chuck Berry and the Blues Tradition". Phylon. 42 (1): 60–72. JSTOR 274885.
External links
- Official website
- Chuck Berry at Curlie
- Chuck Berry discography at Discogs
- Chuck Berry at IMDb
- Chuck Berry at the TCM Movie Database
- Chuck Berry at Last.fm
- Chuck Berry lyrics Archived March 20, 2017, at the Wayback Machine