Chuck Berry

   
Artist: Chuck Berry

   Genre(s): 
Rock & Roll
   Rock
   

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Discography:


   
 The 50.s Collection

   Year: 2002   
Tracks: 18


   
 Hail! Hail! Rock 'n Roll

   Year: 1987   
Tracks: 13


   
 London Sessions

   Year: 1972   
Tracks: 8


   
 Live In Toronto

   Year: 1969   
Tracks: 12


   
 From St. Louie To Frisco

   Year: 1968   
Tracks: 16


   
 The Chess Years

   Year: 1961   
Tracks: 30


   
 Rockin' At The Hops

   Year: 1960   
Tracks: 12


   
 After School Session

   Year: 1957   
Tracks: 20


   
 The Great Twenty-Eight

   Year:    
Tracks: 28


   
 Greatest Hits of Chuck Berry

   Year:    
Tracks: 8


   
 Chuck Berry Is On Top - New Jukebox Hits

   Year:    
Tracks: 24

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Of all the early breakthrough rock candy & roll artists, none is more than significant to the development of the music than Chuck Berry. He is its superlative songster, the independent shaper of its instrumental voice, unitary of its superlative guitarists, and unrivaled of its sterling performers. Quite simply, without him, thither would be no Beatles, Rolling Stones, Beach Boys, Bob Dylan, nor a myriad others. There would be no standard "Pat Berry guitar introduction," the instrument's clarion call to make the stick rockin' in whatsoever mount. The clumping rhythms of rockabilly would not have been mainstreamed into the now monetary standard 4/4 sway & tramp scramble. There would be no obsessive punning by contemporary tunesmiths; in fact, the whole chronicle (and artistic stratum) of rock & roll songwriting would birth been much poorer without him. Like Brian Wilson aforesaid, he wrote "all of the great songs and came up with all the rock-and-roll beats." Those world Health Organization do non claim him as a seminal influence or profess a liking for his music and showmanship show their ignorance of rock's development as well as his seat as the music's number one big creator. Elvis crataegus oxycantha have fueled stone & roll's imagination, simply Chuck Berry was its pulse and original mindset.


He was born Charles Edward Anderson Berry to a bombastic house in St. Louis. A bright student, Berry developed a love for poetry and concentrated blues early on, winning a high school gift contest with a guitar-and-vocal rendition of Jay McShann's large lot number, "Confessin' the Blues." With some local tutelage from the neighborhood barber, Berry progressed from a four-string tenor guitar up to an official six-string simulation and was soon working the local East St. Louis club scene, seance in all over he could. He apace launch out that mordant audiences liked a wide variety of music and set himself to the project of being able to reproduce as much of it as possible. What he establish they truly liked -- in any case the blues and Nat King Cole tunes -- was the sight and sound of a smuggled adult male playing t. H. White bushwhacker music, and Berry's showmanlike elan, conjugated with his ostensibly inexhaustible issue of fresh verses to old favorites, quickly made him a name on the circuit. In 1954, he complete up pickings over pianist Johnny Johnson's small jazz group and a residency at the Cosmopolitan Club presently made the Chuck Berry Trio the superlative attractor in the black community, with Ike Turner's Kings of Rhythm their only real contest.


But Berry had bigger ideas; he yearned to build records, and a trip to Chicago lacy a two-minute conversation with his perfection Muddy Waters, world Health Organization bucked up him to approach Chess Records. Upon listening to Berry's homemade demonstration taping, label chief Executive Leonard Chess professed a liking for a hillbilly air on it named "International Development Association Red" and promptly scheduled a academic session for May 21, 1955. During the session the deed of conveyance was changed to "Maybellene" and rock & swan history was natural. Although the record only made it to the mid-20s on the Billboard pop chart, its boilers suit influence was massive and groundbreaking ceremony in its setting. Here was finally a black rock & roll record with all-embracing invoke, embraced by white River teenagers and Southern hillbilly musicians (a young Elvis Presley, still a full year from national stardom, promptly added it to his level register), that for formerly couldn't be successfully covered by a pop isaac Bashevis Singer like Snooky Lanson on Your Hit Parade. Part of the secret to its originality was Berry's blazing 24-bar guitar solo in the middle of it, the imaginative rime schemes in the lyrics, and the sheer poke of the phonograph record, all signal that rock-and-roll & range had arrived and it was no furore. Helping to commit the record over to a white teenage audience was the highly influential New York phonograph record jockey Alan Freed, world Health Organization had been given part of the writers' recognition by Chess in return for his spins and plugs. But to his credit, Freed was too the first white DJ/promoter to systematically use Berry on his rock & roll stage designate extravaganzas at the Brooklyn Fox and Paramount theaters (playing to predominately white audiences); and when Hollywood came career a year or so later, as well made sure that Chuck appeared with him in Rock! Rock! Rock!, Go, Johnny, Go!, and Mister Rock'n'Roll. Within a years' time, Chuck had done for from a local St. Louis blues chooser making 15 dollars a night to an overnight sensation commanding o'er a 100 times that, arriving at the dawn of a new breed of popular music called rock & roll.


The hits started climax thick and truehearted all over the following few eld, every one of them about to suit a classic of the genre: "Roll Over Beethoven," "Thirty Days," "To a fault Much Monkey Business," "Brown Eyed Handsome Man," "You Can't Catch Me," "School Day," "Carol," "Back in the U.S.A.," "Little Queenie," "Memphis, Tennessee," "Reb B. Goode," and the tune that defined the moment utterly, "Rock-and-roll and Roll Music." Berry was non only in invariant demand, touring the state on sundry parcel shows and appearing on video and in movies, simply chic enough to hump precisely what to do with the spoils of a of a sudden successful testify business calling. He started investment heavily in St. Louis expanse real estate and, of all time one to push the envelope, open up a racially miscellaneous nightclub called the Club Bandstand in 1958 to the dismay of edgy locals. These were not the plans of your mean R&B singers wHO contented themselves with a closet of cheap suits, a new Cadillac, and the nicest house in the black section. Berry was smart with plentifulness of business organization apprehension and was already making plans to open an entertainment parkland in nearby Wentzville. When the St. Louis power structure establish extinct that an nonaged hat-check missy Berry hired had too determine up browse as a working girl at a nearby hotel, trouble came down on Berry like a maul on a fell. Charged with transporting a minor over state lines (the Mann Act), Berry endured two trials and was sentenced to federal prison for 2 old age as a consequence.


He emerged from prison house a moody, embittered humankind. But two very significant things had happened in his absence. First, British teenagers had discovered his music and were fashioning his old songs hits all over over again. Second, and perchance near significant, America had discovered the Beatles and the Rolling Stones, both of whom based their music on Berry's style, with the Stones' early albums look like a Berry song dynasty list. Rather than being resigned to the has-been electrical circuit, Berry found himself in the midst of a worldwide beat boom with his medicine as the centrepiece. He came back with a batch of hits ("Nadine," "No Particular Place to Go," "You Never Can Tell"), toured Britain in exuberate, and appeared on the big silver screen with his British disciples in the groundbreaking ceremony T.A.M.I. Show in 1964.


Chuck Berry had moved with the multiplication and set up a new audience in the steal and when the cries of "yeah-yeah-yeah" were replaced with peace treaty signs, Berry altered his alive behave to include a wad of irksome blue devils and cursorily became a fixture on the festival and flower child ballroom circuit. After a black stint with Mercury Records, he returned to Chess in the early '70s and scored his concluding strike with a live translation of the salacious glasshouse verse, "My Ding a Ling," yielding Berry his low official amber record. By decade's end, he was as in demand as ever, working every oldies revivification demonstrate, TV special, and festival that was thrown his way. But once again, troubles with the law reared their vile head and 1979 saw Berry headed back to prison, this time for income tax nonpayment. Upon tone ending this time, the creative years of Chuck Berry seemed to have derive to an end. He appeared as himself in the Alan Freed bio-pic, American Hot Wax, and was inducted into the Rock & Roll Hall of Fame, merely firm refused to record whatever new material or fifty-fifty egress a live record album. His live performances became increasingly mercurial, with Berry working with awful stand-in bands and turning in sloppy, out-of-tune performances that did a great deal to tarnish his reputation with jr. fans and oldtimers likewise. In 1987, he published his number one book, Chuck Berry: The Autobiography, and the like year saw the film freeing of what volition potential be his persistent bequest, the rockumentary Hail! Hail! Rock'n'Roll, which included live footage from a 60th-birthday concert with Keith Richards as musical director and the usual bevy of superstars advent out for guest turns. But for all of his backstage exploits and ostensibly on-going troubles with the law, Chuck Berry remains the epitome of rock 'n' roll & roll, and his music volition endure long afterwards his private escapades receive bleached from memory. Because when it comes down to his music, possibly John Lennon said it topper, "If you were going away to throw rock-and-roll & hustle some other make, you power call it 'Chuck Berry'."





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