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If you were to try and give rock 'n' roll another name, you might call it Chuck Berry.
Right. In the 1950s, a whole generation worshipped his music,
and when you see him perform today, past and present all come together...
and the message is, "Hail, hail, rock 'n' roll."
Right on.
[ Crowd Cheering ]
* Mabellene Why can't ya be true *
* Oh, Mabellene
* Can't ya be true
* Started back doin' the things you used to do *
* As I was motorvatin' over the hill *
* Saw Mabellene in a Coupe De Ville *
* Cadillac rollin' on an open road *
* Nothin' outrun my V-8 Ford
* Cadillac doin' about 95
* Bumper to bumper or side to side *
* Mabellene Can't ya be true *
* Oh, Mabellene Can't ya be true *
* Ya started back doin' the things you used to do **
Oh !
You know, the only song I ever tried to sing of his is "Mabellene."
I get far as the Cadillac up on the hill and--
And you let it go up the hill by itself. No, it went.
[ Laughing ]
Whoa !
I remember driving by a place in Nashville.
I must've been 16, driving home from a date,
and, um, "Mabellene" was playing out--
You could hear it coming out of the club, you know, as we rolled by.
And so we rolled down the window, stopped and used to listen.
He's the King of Rock 'n' Roll.
My mama even said that.
I said, "What about me, Mama ?"
She said, "Well, now, son, you're ver-- you're different.
You sing slow songs, but Chuck Berry's rock 'n' roll."
I said, "Why, all this time, I thought I was."
She said, "Well, your habits are pretty good, but you're no Chuck Berry."
My favorite song with Chuck... is all of 'em.
I like all of 'em ! [ Laughing ]
I-I've always-- Chuck, really, to be truthful,
not puttin' Bo down, not puttin' Fats down,
but if I didn't say this, God knows I'd be lyin'.
To the God of Abraham, Isaac and Jacob,
my God that I love so much-- and I keep Your Holy Sabbath every Saturday...
from sunrise to sunset-- I must say this: He's my favorite rock artist,
and he always have been, and I think that--
I've never told the world this, but...
his rhythm is the only rhythm that I can sing myself too.
And it fits. If I say anything about Chuck, Chuck is--
If Chuck don't go up on stage, I know it's gonna be really tough on me.
[ Little Richard Laughing ]
Wow. So this is what you wanted to see.
This is it: the Cosmopolitan Club.
That's what 30 years can do for ya.
Gee, birthplace of "Mabellene."
Okay.
* Mabellene
* Why can't ya be true
Jesus. Look at this. Wow.
Oh, man, this breaks my heart.
They must've had a flood here or something.
Mmm, look at this place.
My beautiful Cosmopolitan,
and many beautiful nights as we had in here.
Look at this. This is something.
It's a far cry from the way it was when I was here back in '51, '52.
Drew three to four hundred people every weekend-- Friday, Saturday and Sunday.
Twenty-one dollars. We were here for three years.
Three years. Johnnie Johnson Trio,
until I took it over and it got to be Chuck Berry Trio.
Chuck Berry came to me and asked me about changin' the name...
from the Johnnie Johnson Trio to the Chuck Berry Trio,
which, uh-- which was perfectly okay with me,
because Chuck was more of a go-getter and, uh,
he seemed to know more about the business than I did,
and I figured with him as a leader we would have more jobs and a better success.
[ Chuck ] I had two day jobs. I worked with my father...
whenever I didn't have anything else to do.
But mainly when I started working at the automobile plant,
that's when the money started comin' in: $91 a week.
I was cuttin' pretty good too, because I had a family, you know,
and, uh, $21 here and $91 there--
A hundred dollars a week, you can do pretty good.
Music is-- was a sideline, you know.
I was a carpenter and a painter, you know.
About a year after I started working here,
uh, I asked-- I'm in the painting business, you know, fixing up.
I had an idea about just putting the, uh, ceilings in black.
And, uh, as I painted them black, I had the idea and went on on my own...
to paint, uh, the top of it real dark, dark blue in ovals.
And then at the high point of the oval,
I just painted a snow-capped mountain,
and they went all around this, all around, all the way around the building,
excepting behind the bar where the mirrors are.
I got $450 for that,
and compared to $21 a weekend,
that's like six months of playing.
That's the reason why I'll never let that, uh, painting and decorating go.
It's, uh, money. Money in that.
[ Interviewer ] But there had to be something that drove you towards...
trying to make a life as a professional musician.
Oh, when the money got larger, I'd put the paintbrush down,
pick the pick up and fiddle.
[ Chuckles ] Oh, yeah. It got bigger.
As a matter of fact, I left here...
making $42 a night...
and went straight to Gleason's Bar in Cleveland...
at $800 a week.
It felt great. When I showed my brother the contract,
he said, "You mean to tell me--
Yeah, well, that's the way it is."
From then on, I found out that you make more and more as the years go by.
[ Woman ] Oh, baby !
[ Whooping, Applauding ]
That's what started me to thinkin' that I could go professional,
because the crowds we had on the weekends were jam-packed.
I said if I can do it here, I can do it in Cleveland, do it in Miami.
And when I went up to Chicago where Leonard Chess and Chess records were,
that was the launching of my career.
I went up there with a $79 recorder and played that, you know,
'cause I'm not gonna play guitar in front of a stranger.
Well, he said, "It sounds good." He was listening to the lyrics.
And the name of the song, I had it named "Ida Red,"
not knowing that I couldn't name it the same title of a song already out.
And "Mabellene" sounds just like "Ida Red" rhythmically, so I named it "Mabellene."
And, uh, evidently he liked it,
because he told me to get the band and come up and he'd consider a recording contract.
I said, "When ? Yesterday ?"
He said, "No. Whenever you can."
So the next Friday, when Johnnie got off from his job, we went up there,
and Saturday we recorded "Mabellene," "Wee, Wee Hours," "Too Much Monkey--"
By the way, I had these songs written during that week.
"Too Much Monkey Business" and, I think, "Roll Over, Beethoven."
And, uh, we did all four of them in less than six hours.
"Mabellene" had 36 takes, by the way. I remember.
[ Interviewer ] You wrote four songs in one week ?
Oh, yeah. It wasn't too hard to write, because I'd been making up songs--
verses, that is-- on the bandstand to other people's songs.
I'd take my verses and put 'em to the same rhythm and I was on my way.
You know, poetry is my blood flow.
We're gonna hear some blues tonight... [ Crowd Whistling, Cheering ]
'cause I'm sorry I left the Cosmopolitan,
but I'm glad I made that money.
[ Cheering, Applause ]
It helped out quite a bit, you know ?
* You know I was livin' in St. Louis *
* In the year of 1955
* My mother didn't have a big mansion *
* Just a little ol' country dive *
* And my daddy worked all week long *
* Tryin' to keep us six kids alive *
* I was standin' at Lambert Airport *
* With this guitar in my hand *
[ Cheering, Applause ]
* You know I had a first-class ticket *
* Destination Hollywoodland
* I'll be in Hollywood, Mama *
* Before the roosters crow again *
[ Chuck ] Wow !
* Can't help it but I love *
* Sittin' here and singin' to you *
[ Cheering ]
* I think that's the only legitimate thing *
* I ever learned to do
[ Cheering ]
* Until I come back here to Cosmo *
* I'm gonna say so long and good-bye to you **
[ Cheering ]
[ Crowd Cheering, [ Crowd Cheering, Applauding, Whistling ]
[ Chuck ] When I first took the song to Leonard Chess,
we recorded in Chess Studios.
Naturally, I was the only writer, because it came from Missouri...
in a basement in my house.
And when the record came out, it was Russ Fratto and Alan Freed and Chuck Berry.
You know, who are these guys, you know ?
I knew Alan Freed. I heard him on the radio.
He was the disc jockey in New York that played the record.
Who is Russ Fratto ? He's-- He owns a stenography store--
a stationery store next to-- who supplied Leonard with his stationery.
Uh, why they were on it didn't matter to me.
I didn't know that was a split of the monies,
but when I got my royalties, I saw one third.
Anybody can easily figure it out. I'm good at mathematics.
I was only-- I'm only getting a third of this, you know.
So that was in the days of payola when, uh--
when you did something for somebody, you got a cut of whatever the issue was.
Money-- You know, I'd sit up all night lookin' at the contracts,
you know, tryin' to figure out how I was gonna make any money out of two--
two-- No, half a cent per record.
Half a cent ? Half a cent per record.
We had to sell two records to make a penny. Right.
A record cost 59 cents, didn't it ? Yeah.
Well, there were 58 other pennies going somewhere. Uh-uh.
I, uh-- Ooh, boy.
Yeah, I majored in math. I was lookin' at the other 58 cents.
I majored in mouth. [ Laughing ]
I was doin' the talkin' and no walkin'. Didn't make nothin'.
Couldn't even understand the contract. I looked at it.
All I wanted to see was "Little Richard." When I saw that, I didn't even read the other part.
[ Chuck ] You feel your way when you don't know.
Sometimes you step on rocks. Sometimes you get your head bumped. But not twice.
That's a smart man. Don't let the same dog bite you twice.
[ Man ] How ya doin', Chuck ?
Chuck's made a whole new show business,
doing things on the road the Chuck Berry way.
As a entertainer and as a businessman/entertainer,
he just does things different than most people do.
Chuck doesn't have a big entourage, doesn't have a band with him.
He likes to go by himself, leaves the job by himself.
You know, promoters offer limousines and such, and he doesn't care.
This is Chuck Berry, that's all. This is just Chuck Berry doin' it his way.
One-nighters, that's all I ever do. One-nighters.
[ Interviewer ] Where's all your luggage ?
No luggage. Just a guitar underneath.
Comb, toothbrush-- that's it.
That's the way I do it.
You check your guitar in baggage ?
Yeah, once in about six months.
After that, get a new one.
Uh, deductible, you know. Tools ?
[ Dick Alen ] Chuck has always caught the imagination of the kids--
not only the young black kids, but the white kids, from the beginning of his career.
He's been able to keep the old ones and bring the new generation all the time.
The 15-, 16-year-olds, as they come in, as they hear Chuck on the oldies stations,
like it, know it's good music and just stay with it.
He has always been going.
The man is a natural guitar player. He's a natural businessman.
He feels it's a very important part of his life and his career,
and he takes care of it very well.
I think my first date was $800 a week,
and that was six nights,
so it's about from about $100 a night...
to, uh, now I'm getting blrlrl $1,000 a night,
you see.
[ Interviewer ] How much ? Is that a secret ? Oh, the I.R.S. knows.
They know it straight now.
Sure. No problem. Cute.
[ Interviewer ] How many concerts do you do a year ?
Well, I'll just multiply six by 12 months.
Seventy to a hundred at the most,
and that's diminishing because here I'm nearing 60, right ?
I've had what I call extreme success...
from what I contemplated in my life,
and, uh, I want to enjoy a bit of it too.
I want to go to some gigs, go to some rock concerts...
and sit there and, "Hey, baby !
Play that music, white boy !" [ Chuckling ]
[ Dick Alen ] When the contract reads X, whatever it is,
he'll be there doin' exactly what the contract says.
People try to help him, try to guess for him,
and that's how trouble starts.
That's part of the contract: that the buyer has to supply a rock 'n' roll band.
Uh, the only requirement is that they know Chuck Berry's greatest hits.
Mr. Berry, good to meet you. [ Man ] Welcome to Columbus.
Shall we go ? Let's go rock 'n' roll. [ Laughing ]
All right. [ Woman ] Hey, Chuck !
I met Chuck Berry once when my manager said, "Gee,
you're gonna open on a bill for Jerry Lee Lewis and Chuck Berry."
And we thought this was "forget it," you know.
I was 23 or 24, and these guys were our heroes and--
and, uh, so we're real excited,
and the guy says, "He's gonna get a band that's gonna back Chuck Berry up."
We said, "No, don't tell him-- Don't get one of the local bands.
Tell him that we'll back him up."
I had-- I think my first album might've just come out around that time.
So we went down to Maryland. We drove in from some overnight gig.
I forget from where.
We came out and played about a half hour,
which is generally the time you were allotted in those days...
if you were an opening act, and we went over pretty good.
We did all right.
And then Jerry Lee came out, and he did his set...
and, you know, ended standin' on the piano and,
uh, no Chuck Berry, right ?
No. He's not there.
So, it's about--
I forget what time it was supposed to go on,
but it was gettin' very close to the time he was supposed to go on.
There's no sign of him. The promoter's gettin' really nervous.
He comes up to me and he says, "Look,
"go on back out there, because Chuck Berry's not here.
I don't think he's comin'."
I said, "I'm not gonna go out there. They're waitin' for Chuck Berry."
And, uh, about five minutes before the show...
was timed to start,
the back door opens, and he comes in.
He's by himself,
and, uh, he's got a guitar case.
And that was it. I guess he pulled up in his own car.
Didn't have anybody with him.
And he walked-- kinda walked by me...
and went straight to the office...
with the promoter, you know ?
Where I guess the rumor was-- [ Laughing ]
I think the rumor was he would get 11 grand,
and at the end of the night he'd give a grand back if the band was okay...
and if the equipment worked.
I don't know if that's true, but that's what we heard.
So straight into the office,
and then he comes-- walks out of the office...
and he comes into the band's room, you know.
We said, "Well, great. We're gonna go on."
I said, "Well, Chuck. Like, what-- What songs are we gonna do ?"
He says, "Well, we're gonna do some Chuck Berry songs." [ Laughing ]
That's all he says.
So we go, "Okay." We get out on stage.
The crowd's goin' insane. They can see him. He walks on,
opens up the guitar case, tunes the guitar.
The lights are up. The place is goin' nuts.
And we're goin', like, you know, "What are we gonna start with, Chuck ?"
And he's kinda not payin' attention to us or not hearin' us.
And then all I see is-- [ Stomping Foot, Imitating Guitar ]
That's it ! [ Laughing ] You know ?
And, like, the band is like, "Yaahh !"
We're in a state of total panic.
We're tryin' to figure out what song are we playin'.
Uh, what key is it in ? Chuck plays in a lot of strange keys...
like B-flat, E-flat.
And our bass player, who was-- He's kind of the... historian of the band, you know ?
So everybody runs to him and he has the right key, right ?
And so, uh, we pick up the key, and we're doin' pretty good, I think.
I forget what song it was. Uh,
but we're playin' away, and the crowd's goin' nuts,
and Chuck runs back and says, "Play for that money, boys !"
We forgot to tell him we were doin' this for free.
Anyway, the night ended, there was a big brawl in front of the stage,
and the lights came up and I think his amp blew up.
We're kind of-- I guess we're doin' "Johnny B. Goode."
** [ Imitates Guitar ] You know, we're just playin' that rhythm.
And he just kinda walked to the side of the stage,
packed his guitar in front of the entire auditorium.
They're goin' crazy. [ Chuckles ]
Then he waved, and that was it.
[ Laughing ] He walked out and walked back into his car, and he was gone.
I doubt that he'd remember us, you know.
We were probably-- We were another one of the bands he was using on the road at the time.
It was just the kind of night that-- that--
You know, when I'm 65 or 70, and I got, you know, my grandkids.
"Chuck Berry ? Yeah, I met Chuck Berry.
[ Laughing ] Matter of fact, I backed Chuck Berry up one night."
"You did ?" "Yeah."
You know, it's a story you're always gonna tell.
[ Chuck ] This is our cornerstone we had placed in the fall of '57.
At least, I wanted it to be a cornerstone.
When I bought it, I found out it was a tombstone.
Well, death of a cornfield and birth of an amusement park.
I wanted it to be like Disneyland or Six Flags,
but it turned out to be One Flag.
I really wanted to have a great place for fishing.
My father was a great fisherman, and all the family's are great fishermen.
So when we first started improving this,
this whole area here was just a valley, a big valley,
and we had the lake dug out and filled up in about a year.
And, uh, shortly after that, we had festivals in the '60s.
We had a festiv-- One of the festivals had 40,000 people.
Another one had 60,000 people,
and the whole park in a sense is kind of like Hyde Park.
I have never seen it, actually.
We just called it Hyde Park in the suburbs of Missouri.
If you wanted to go, you'd just come to Missouri.
Come to Berry Park.
Now, this is the barroom of the clubhouse we had built here...
in, uh-- During the '50s, when I was touring...
with all my colleagues and everything,
I wanted everybody to come and see.
I wanted everybody to come here, from Laverne Baker to Elvis Presley,
the Everly Brothers-- you name it.
And I think that, um, I-- Actually, in here,
I predicted playing here...
in my rockin'-chair years.
And, um, here's where I could settle down and do my thing.
We didn't get off the ground with this, 'cause I was touring so fast.
We were wonderin' now will it ever be as I anticipated it to be.
**
* Everything is wrong since me and my baby parted *
* All day long I'm barkin' 'cause I *
* Couldn't get my car started
* Laid off from my job and can't afford to check it *
* I wish somebody'd come along and run into it and wreck it *
* Come on Since my baby parted *
* Come on I can't get started *
* Come on I can't afford to check it *
* I wish somebody'd come along and run into it and wreck it *
* Everything is wrong since I been without ya *
* Every night I lie awake thinkin' about ya *
* Every time the phone rings Sounds like thunder *
* Some stupid jerk tryin' to reach another number *
* Come on
* Since I been without ya Come on *
* Steady thinkin' about ya * Steady thinkin' about ya Come on *
* Tryin' to make ya see that I belong to you *
* And you belong to me So come on *
**
Yeah ! What happens there ? Who needs an ending ?
I wanted to serve Chuck up with a good band,
'cause I never heard him play in tune, you know.
And I was-- I've been so disappointed with Chuck Berry's live gigs for years and years...
whenever I've seen him, 'cause he didn't give a damn.
You know ? And he just-- If he made a mistake, he'd blame it on the band.
I mean, and he'd just wing it and get through,
and he's got such a powerful personality...
that he's managed to get away with it.
I know everybody said that I was, you know, mad to take the gig on,
and no doubt they said it to you too.
But, um, so I ordered the straitjacket,
allowed six to eight weeks for delivery...
and, uh, if anybody was gonna do it, I wanted it to be me.
I'm not so much a musical director, you know,
as an S-and-M Director.
It's, uh-- [ Chuckles ]
Social and Musical Director's the polite way-- It's the S-and-M Band, you know.
[ Interviewer ] What was it, when you first heard Chuck Berry,
that made you... change your life ?
There's something about the sound.
Uh, the total--
I don't even know if Chuck realizes what he did. I don't think maybe he does.
I mean, people sometimes don't, you know.
I mean, Michelangelo probably thought he was third-rate too.
But, um, it was just such a total thing:
the great sound, the great rhythm.
But on top of all that,
such a great total overall sound...
came off the needle on that record.
You know, all of them. The first one, I think, was "Johnny B. Goode."
Uh--
That-- That's when I knew what I really wanted to do.
You know ? I didn't have to make a living.
I didn't dream I could make a living, but I knew that's what I wanted to do.
I would do it as a hobby even if I was an accountant now or something, you know.
Probably be better off. [ Chuckling ]
Leave the amp as I set it. That's my amp, and I'm setting it the way I wish.
-[ Man ] Well-- -I'm not speakin' to you.
[ Man ] I'm answering your question.
That's gonna have the sound on the film, baby.
I'm interested in how it sounds here.
It sounds the way I wish it to sound.
That's the way it's going to sound if I am playing. If I am not playing--
[ Man ] Turn it any way you want. Check the tape out, Chuck.
Why it was being done ? Well, don't touch my amp.
You said it won't be done. He said he didn't.
- He said why it's being done. - Why it's being done is because it's not recording well.
Okay. That's what's gonna end up on film.
- Huh ? - That's the way it's gonna end up on film.
If it winds up on the film, that's the way Chuck Berry plays it. Ya understand ?
I understand about it. I understand.
- I was talking to anybody. - You gotta live with it afterwards.
I been living for sixty years with it ! I know that !
Okay, then realize it ! Is it gonna be around after you're dead and gone ?
It ain't you and me. It's everybody. Oh, well, I ain't dyin'.
Go on, then, and sing your song. Shit.
[ Keith ] I think he's got a little worm in him.
He's the only guy that's hit me that I never got back.
You know ? Maybe I'm savin' it. [ Laughs ]
But, um-- [ Interviewer ] Tell me about that.
Oh, it was in a dressing room like this.
He'd done a show in New York,
and I went up to say hello, and he was just leaving...
with a little bit of white tail.
And, uh, I made the mistake of tapping him on the shoulder, saying,
"Hey, Chuck, don't rush off without saying hello." Because I'd known him.
I met him in '65, first time.
Yeah, and, uh,
he just turned around and just gave me a full shot right in the face.
You know, boom. I was very proud that I didn't go down.
I don't know. Maybe he got his fingers burnt earlier on...
and decided to shut the rest of the world out.
I think since he got out of jail,
he came out with a chip on his shoulder and, uh, I just tried to knock it off.
I don't know whether I did or not,
but, uh, I respect the man.
Always will, you know, for what he's done and also for myself.
I've lived under the umbrella of the Rolling Stones for 20-odd years.
In a way, I'm in as totally insulated a scene as maybe Chuck's.
This must be one of the most difficult gigs.
If I can handle this, I ain't worried about nothin' else.
[ Laughing ]
If you just-- If you sing it and just play the rhythm,
and I'll put the fills in, uh-- in between those vocal lines.
Say that again. If you sing it and just play the rhythm--
** * Groove on out
Then I don't have to keep hoppin' and tryin' to cover both ends.
I need the rhythm guitar, at least. Okay.
It would be too much, probably, to sing and play the lead, fills as well.
Well, it wasn't. [ Laughing ]
Well, yeah, I mean, I don't mind, but I'll play the rhythm...
if you wanna-- if you wanna do the fills.
It's only on those two verses. I mean--
* Groovin' Climb into my machine *
* And you can groove on out ** Yeah, but...
the stops and starts is what we were lookin' for.
Yeah. We got them as long as-- as long as we have, uh--
- And you're gonna play the solo, right ? - If he wants me to.
[ Keith ] Yeah, yeah. We need that.
I need that guitar.
[ Man ] Here.
**
That slur is started right here.
It starts on the upper one.
Listen.
** All right.
See, start with it all the way down there.
I'm playing F.
**
Perfect. Perfect.
**
* Oh, girl
* Don't let him steal it away *
* Gonna learn to dance if it takes me all night and day *
** [ Stops ]
[ Man ] Yeah ? [ Keith ] And then--
And then there's another one.
** [ Stops ]
[ Chuckles ]
**
** [ Stops ] You wanna get it right, let's get it right.
**
** [ Band Continues ]
** [ Stops ]
[ Man ] Ya test it, Chuck ?
**
* Oh, don't let him steal it away *
* I'm gonna learn to dance if it takes me night and day *
* Come into my machine so we can cruise on out *
* I know a swingin' little joint where we can jump and shout *
* It's not too far back off the highway *
* Not so long a ride
* You park your car right in the open *
* You can walk inside
* A little sugar takes your hat *
* And you can thank her, ma'am *
* Every time you make the scene you'll find the Georgia Jam *
* Carol, don't let him steal it away *
* Gonna learn to dance if it takes me night and day *
Yeah !
Hey !
* Ya wanna hear some music like the piano go play *
* Hold tight Put your foot *
* Don't let her carry it away *
* Don't let the heat overcome me if the music's too loud *
* Don't the music get tricky when the drummer get proud *
* Y'all can't dance I know ya wish ya could *
* Sock it to 'em, Keith Make 'em really feel good *
Yeah ! Yeah !
* Oh, don't let him steal it away *
* Gonna learn to dance if it takes me night and day *
Blow ! Blow !
Yeah ! Yeah, yeah !
* Steal it away
* Gonna learn to dance if it takes me night and day **
All right ! All right !
We came along, the whole thing changed.
All of a sudden, we became a no-no.
What is this ? This is devil music.
And Elvis, he asked me-- He says, "Do you think I'm playin' the devil's music ?"
[ Laughing ] "The hell. You are the devil, boy."
We couldn't get records played on the radio,
and I remember hearing Phil Chess and Leonard saying, discussing this,
"You know what ? If we could get a white kid to play this song,
we could get it played."
Because the radio stations were owned by all caucasians. They wouldn't play black music.
So they said, "Okay." So all of a sudden you got Carl Perkins popped up,
Elvis Presley, uh, Gene Vincent.
They all come out of, what, Sun Records in, uh, Nashville somewhere.
Payola made it. That's what made it for Sun Records.
Geoff Philips and myself, I'll have to admit,
cranked payola off, started paying off disc jockeys...
to play records.
I said, "Mr. Philips, you shouldn't do that. That's a sin."
[ Chuckling ] He said, "It'll pay off, son."
So he went to jail. [ Chuckling ]
[ Interviewer ] But those records were great records.
You still had to pay to have them played ?
Well, yeah, but everybody wants the money.
Everybody wants to be paid to be appreciated,
not just to draw $80 a week for playin' a record.
A star, whoever he is, makes $100,000 dollars off a record, and he gets $80 a week.
There was a bad omen hangin' there...
when the thing became separated.
It became separated. R-and-B became-- became what we was doin'...
and rock 'n' roll became what the white kids was doin'.
I think you mean we moved in separated.
We weren't called popular music. We were not put in that class.
We were called rhythm and blues. [ Bo ] Yeah.
When I started with a-wop-bop-a-loo-bop a-lop bam boom...
and Pat Boone covered it,
uh, uh, uh-- I was wop-bop-a-la all over the place.
A-and so I remember Art Rube says--
Arthur Goldsberg, he says-- He would put my record on the top station,
and then here come Pat Boone.
The-- The white kids wanted mine,
'cause it was real rough and... raw,
and Pat Boone had this smooth version:
[ Softly ] * Wop-bop-a-loo-bop a-lop bam boom **
And I'd say, "Wop-bop-a-loo--" I had a gut to mine.
So the white kids would take mine and put it in a drawer and put his on the dresser.
- For their parents to see. - I was in the same house.
But I was mad when Pat Boone cut my record. I wanted to get him.
I said, "I'm goin' to Nashville to find him."
I wanted to get him because, to me, he was stopping my progress.
I wanted to be famous, and here this man came and took my song !
[ Chuck ] White man. A-And took--
Not only did he take "Tutti Frutti," but he gonna take "Long Tall Sally,"
and he didn't know how to duck back in no alley !
Son of a gun ! I said, "I got to do somethin' about it."
Later, I thought about that and said, "That was good,"
but back then I said, "I can't stand him."
But as I got older, I got bolder. [ Chuck ] Yeah !
And now I've started rubbin' shoulders. Yes.
[ Keith ] Johnnie Johnson, Chuck's piano player, right ?
Chuck hadn't worked with him for 20-odd years.
Those two have a strange rela-- He walked in on Johnnie's band...
in a little club in East St. Louis one day and took it over,
you know,
and Johnnie, being the guy he is,
"Pleasure. Right, brother."
I don't think Johnnie has realized really...
that Chuck-- I said to Johnnie, "Play a boogie."
You know ? I mean, he'll go flow naturally into it.
** [ Singing Boogie ]
And he's not doin' a Chuck Berry song.
I know, the way he's playing, it's his riff.
Chuck adapted it guitar. I know that, too, because of the key it's in.
It's in piano. It's in Johnnie's keys. It's in piano keys.
If it was a guitar-- I mean, this is guitar, rock 'n' roll.
You play in A and E and D...
'cause you got open strings and there--
This is a little technical, but... for a guit-- That--
If it's a guitar band, you play in those keys,
because it's-- they're guitar keys, you know ?
On top of everything else, we're playing in piano keys:
you know, horn keys, jazz keys, Johnnie Johnson's keys.
You know ? And I-- I mean, the minute that he does "School Days,"
** [ Singing ] he ain't copyin' Chuck's riffs on piano.
Chuck adapted them to guitar...
and put those great lyrics behind them.
But without somebody to give him them riffs,
voila,no song,
just a lot of words on paper.
I didn't write the music with him. I'd be in the room sometime while he was writing.
That's it. He would write the lyrics, then he and I would get together...
and we played some kind of music that he could put lyrics into,
and it would all come out just right, you know.
Some would be fast; some would be slow...
like this piece, uh, uh, "Havana Moon," for instance.
That was a slow sort of calypso thing.
So we had to find some calypso music to go with the lyrics...
to what he was-- to his "Havana Moon."
And then, uh, pieces like "Baby Doll"...
and, uh, "Roll Over, Beethoven"--
all these were fast, so we had to come up with fast music...
that would blend in with the words that he was writin',
so he could get all his sentence out and still come out on time.
So this is the way he did it.
They say, "That's a Chuck Berry song because there's--"
** [ Singing ]
Well, the first time I heard that...
was in Carl Hogan's--
in one of Carl Hogan's riffs in, uh, Louis Jordan's band.
We have, uh, T-Bone Walker.
Uh, I love T-Bone Walker's slurs and his blues.
So put a little Carl Hogan and a little T-Bone Walker...
and a little Charlie Christian, the guitarist,
and-- and, uh, Tommy Dorsey's band together,
look what a span of people that you will please.
And that's what I did in "Johnny B. Goode,"
uh, "Roll Over, Beethoven."
And making it simple is another important factor, I think,
that resulted in, uh, a lot of, uh, the artists...
understanding and being able to play my music--
if you can call it my music, but there's nothing new under the sun.
* When, when Okay, let's just... a cappella.
One, two, three, four.
* When I see those big, brown eyes *
* That's when I take my cue *
* Don't take us but a few minutes to get a message through *
* I talk to you You talk to me *
* We talk to one another I keep talkin' to the wrong person.
* It don't take but a few minutes * What is that ? Hold up.
You sang it right up.
* It don't take us but a few minutes * * A
Wait. You got to do this slow. ** [ Singing Tones ]
Oh, we sound like a alphabet. Hold it.
* A * A
Let's go up slower.
[ Together ] * It don't take
* But a few
Okay. * It don't take but a few *
Okay, "It don't take," straightaway. One, two, three, four.
* It don't take but a few minutes *
- * To get a message through ** - "Understand each other."
Oh, am I gonna remember that ?
[ Keith, Laughing ] Well, you wrote it.
I tell you what, if I remember it-- [ Gibberish ]
[ Eric Clapton ] There's a whole mixture of things.
I hear Latin and country, jazz.
The whole thing makes a beautiful hybrid.
[ Interviewer ] But there's not an understanding on his part that he's a great songwriter.
He just kind of sloughs it off.
Not entirely. I'm not too sure.
I've only just met him, and it's hard to say...
from just knowing him this short a time...
really what his kind of acceptance of the whole thing is.
First, I'd heard stories that he was very bitter...
and he thought people had ripped him off.
In order to think that, you must be aware of how far your influence has spread.
I don't really know if he's completely aware of how much people love his music,
because I know he's more-- he's often very keen to be a showman.
And that can be a sign of the fact that you're not very secure with what you are good at.
I like to hear him play those ballads and things like that.
I know that's deep in his heart.
If he was doing that on stage, then I kinda feel that he was more--
that he was really aware of how much people do love him.
**
* I'm through with love
* I'll never fall again
* Set a dream to love
* Don't ever call again
* For I must have you
* Wonder why
* That's why I'm through with love *
* I've locked my heart
* I'll keep my feelings there *
* Yes, I've stopped my heart *
* With an icy Frigidaire
* For I mean to care for no one *
* That's why I'm through with love *
* You should have told me
* That you didn't care
* You needn't scold me For you had your share *
* Slave wrapped around you To hound you and swear *
* Those deep emotions Devotions to you *
* I've locked my heart
* I'll keep my feelings there *
* Yes, I've stopped my heart *
* Like an icy Frigidaire
* For I mean to care for no one *
* That's why I'm through
* Yes, I'm through
* With love *
Sure play some pretty, pretty chords to be a rock 'n' roller, Jack.
So do you. Really, them pretty chords, baby.
Mmm, yeah. You should have been a jazz artist, Jack.
[ Laughing ] No money in it, Chuck. No money in it.
Chuck is a beautiful songwriter.
One thing about him: The things he's write about,
he have studied about or know about.
Because, like, "Beethoven" and all these other songs that he made,
you can tell he been to school with 'em.
You tell 'em about how you went to school, darling,
and your education you got, you know, how you went--
Oh, Lord, I lost all of it.
No, you didn't. No, he hasn't lost anything.
Mom came out of college-- Where ? In Oklahoma ?
Yes, uh-huh. Mom came out of college as a teacher.
And Dad came off the farm.
Yes, and plus he was blind 'til he was 12.
Well, partially. And they pierced his ears, and it all came back.
So Daddy, when he married Mother-- By the way, she calls him "Henry," you know.
And one more thing, she's six months older than him and never lets him forget it.
"I'm older than you, Henry. Listen to me."
Anyway, Daddy couldn't take it.
Daddy went back to school during-- after they got married.
I'm nine years old, Daddy's goin' to school. He says, "We used to go to school."
He was going to school trying to catch Mama. That's true.
Mama layin' back with her education, "He'll never catch me."
Boy, does this box office bring back a memory,
a real particular memory.
When I was 11 years old, I came up to this very box office...
to get a ticket to see to get a ticket to see Tale of Two Cities.
My father wanted us to see it because it had a lot of artistic qualities about it.
The lady said, "Come on, we're not selling you a ticket.
You know you people can't come in here. Go away."
You know, it tooktwo years for that to come to our theater in our neighborhood.
Things have changed,
really changed.
It made me think that someday...
I would come back.
I'll be back.
This theater was the Great White Way of St. Louis,
the epitome of theatrical business in St. Louis.
And the Father of Rock 'N' Roll,
a cog in that big wheel...
is starring here tonight.
Me.
It's a far cry from years back...
when my forefathers,
a few blocks away,
were sold on the civil courthouse steps.
Sold.
Now, that's a big change.
[ Audience Cheering ]
[ Cheering Loudly ]
Thank you.
Thank you, St. Louis.
[ Cheering Continues ] Thank you.
[ Laughing ] Thank you.
[ Chuck ] What inspires me to play here...
is what this represents, not what it is.
It could be a corner bar.
It's what it represents:
elegance, decency, the, er, strive for a better manner of life.
In the theater where I saw A Tale of Two Cities,
we didn't have such elegance.
I don't mean the decor; I mean the clientele.
There was hollering from the balcony.
When a scene came on, you expressed your feelings.
Here you get a-- and that's enough.
Lemme hear you holler ole ! Ole !
Ole !
[ Chuck ] But whatever it be, according to my music,
I'll generate the feeling that we had back in our neighborhood.
Because that's one thing about rock 'n' roll: It's freedom.
**
* Well, I'm a write a little letter, gonna mail it to my local D.J. *
* Well, there's a jumpin' little record I want my jockey to play *
* Roll over, Beethoven I got to hear it again today *
* Early in the mornin' I'm givin' you a warnin' *
* Don't step on my new, shiny shoes *
* Hey, diddle diddle I play my fiddle *
* And I ain't got nothin' to lose *
* Roll over, Beethoven Tell Tchaikovsky the news *
* Well, if you feel it and like it Go get your lover *
* Reelin', rockin' Roll it over *
* Move on up a trifle further *
* Reel and rock with one another *
* Roll over, Beethoven Tell Tchaikovsky the news *
** [ Cheering ]
* Early in the mornin' I'm givin' you my warnin' *
* Don't step on my new, shiny shoes *
* Hey, diddle diddle I'm gonna play my fiddle I ain't got nothin' to lose *
* Roll over, Beethoven and tell *
* Everybody repeat after me *
* Roll over, Beethoven [ Cheering ]
- * Roll over, Beethoven - * Roll over, Beethoven
* Roll over, Beethoven * Roll over, Beethoven
Tell Tchaikovsky-- **
** [ Stops ]
[ Cheering ]
In the middle of "Roll Over Beethoven" at the Fox Theater,
Chuck comes up to me in the solo and says,
"After this chorus, we're gonna change the key from--"
We were in C-- "To B-flat."
[ Laughing ] Which, I mean--
And I said, "No," and he sort of did a double-take,
because I don't think many people say no to Chuck.
Even when it's going great, he won't leave it at that.
He'll come in, "That's a potential screw-it-up."
But that's just him.
[ Stammering ] I don't think--
He's not malicious or vicious or designed.
He's just him, and you just gotta be-- When you're workin' with Chuck,
you just gotta be prepared for anything, anytime.
We rehearsed for 10 days. This goes this and all.
There's a piano solo here, and then you stop.
You get on stage, and boom ! Out the window. "Wing it."
You know, everybody's looking at me on stage,
and once we get up there, totally different arrangements-- some of them in different keys.
And I just looked at them, and--
"Wing it, boys." [ Laughing ]
[ Cheering ] Ooh, that's nice.
"Almost Grown." I'll try it.
** [ Inaudible ]
Any-Anybody...
Go ahead. Okay.
One more time !
* Well, I'm doin' all right in school *
* They said I broke no rules *
* I ain't never been in dutch * * Waa-do-day
- * I don't browse around too much * - * Waa-do-day
- * Don't bother me Leave me alone * - * Whoa, whoa, whoa-oa
* Anyway I'm almost grown * * Waa-do-day
* I don't run around with no mob * * Waa-do-day
* I got myself a little job * * Waa-do-day
* Gonna buy me a little car * * Waa-do-day
* Drive my girl in the park * * Waa-do-day
* Don't bother us Leave us alone * * Whoa, whoa, whoa-oa
* Anyway we almost grown * * Waa-do-day
* Ba-da da-da da-da-da *
**
* Hey Hey, hey, hey *
Come on, now. Slow it down, fellas.
* Got my eye on a little "goil" * * Waa-do-day
* Ah, she's really out this "woild" * * Waa-do-day
* When she's taken to a dance * * Waa-do-day
* She's studied Talks about romance * * Waa-do-day
* Don't bother us Leave us alone * * Whoa, whoa, whoa-oa
* Anyway we almost grown * * Waa-do-day
** Hey !
* You know I'm still livin' in town * * Waa-do-day
* Done got married * Done got married and settled down * * Waa-do-day
* Now I really have a ball * * Waa-do-day
* Don't mess around at all * * Waa-do-day
* Don't bother us Leave us alone * * Whoa, whoa, whoa-oa
- * Anyway we almost grown * - * Waa-do-day *
**
[ Cheering ]
** [ Stops ]
[ Inaudible ]
He's the first songwriter/singer that I know of.
Ah, there were others,
but not with that much rhythm and that much--
The way the lyrics rolled off the tongue,
the way they stabbed, the way they cut...
and the way they sort of seemed to lay there with the drums, all the lyric.
It's just, a-- a free-form expression.
And he did the same thing with the guitar that he did with his voice and his writing.
You couldn't find an earlier example of a singer/songwriter/guitarist.
Before 1956 or '7, in--
a singer sung songs, and a songwriter wrote them,
and the twain never did meet.
And if there was a great song, 15 people did versions of it.
You had your so-called standards because that was the way it is.
Some guy wrote the song, and if it was a great song, everybody recorded it.
But he put it back; he did the troubadour.
And he can play 'em, and he's the only one who can play 'em like that.
Ladies and gentlemen, here is a young girl--
she's a young girl to me; she's quite a lady--
whom I met at theMerv Griffin Show in Hollywood when she began.
Let's start it without any applause.
Come on out here, Linda Ronstadt !
[ Cheering ] "Back in the USA" ! Come on, darling !
[ Cheering ]
Gee, but you're pretty.
**
* Uh-huh Whoa, yeah *
* Whoa, yeah * Whoa, yeah Whoa, yeah *
* Oh, well, oh, well I feel so good today *
- * Uh-huh - * Yeah, yeah, yeah
* We just touched ground on an international runway * * Uh-huh
I'll bet you did ! * Whoa, yeah
* Jet propelled back home from overseas to the USA *
Sing the song ! * Uh-huh * Uh-huh Whoa, yeah *
* New York, Los Angeles Oh, how I yearn for you *
* Uh-huh * Uh-huh Whoa, yeah * * Yeah, yeah, yeah
* Detroit, Chicago Chattanooga, Baton Rouge *
* Uh-huh * Uh-huh Whoa, yeah *
* God, I long just to be at my home back in old St. Lou *
[ Cheering ]
**
* Did I miss the skyscrapers Did I miss the long freeway *
* Uh-huh * Uh-huh Whoa, yeah *
* From the coast of California to the shores of the Delaware Bay *
* Uh-huh * Uh-huh Whoa, yeah *
* You can betcha I never did 'til I got back to the USA *
* Whoa, yeah * Whoa, yeah Whoa, yeah *
**
* We're goin' out for a drive and searchin' for a corner cafe *
* Uh-huh, whoa, yeah * Where hamburgers sizzle on the open griddle night and day *
* Uh-huh Whoa, yeah *
* Yeah, the jukebox jumpin' with the records back in the USA *
Sing the song ! * Whoa, yeah * Whoa, yeah Whoa, yeah *
* I'm so glad I'm livin' in the USA *
* Uh-huh * Uh-huh Yeah, yeah, yeah, yeah *
* I'm so glad * I'm so glad I'm livin' in the USA *
Sing it again ! * Uh-huh * Uh-huh Whoa, yeah *
* Anything you want, we got it right here in the USA *
* Whoa, yeah * Whoa, yeah Whoa, yeah *
* Well, I'm so glad I'm livin' in the USA *
* Uh-huh Whoa, yeah *
* I'm so glad I'm livin' in the USA *
* Uh-huh Whoa, yeah *
* Anything you want, we got it right here in the USA *
* Whoa, yeah Whoa, yeah *
* I'm so glad
* Yeah, yeah, yeah, yeah *
* I'm so glad
* Uh-huh Whoa, yeah **
** [ Stops ]
[ Applause, Whistling ]
[ Chuck ] I was tryin' to shoot for the entire population...
instead of, shall we say, the Neighborhood.
Muddy Waters-- I knew he was dynamite in our neighborhood. He's dynamite with me.
One of the most-loved artists that I like.
But workin' for my father in the white neighborhoods, I never heard Muddy Waters.
I never heard Elmore James. Howling Wolf, I never heard of him.
I heard Frank Sinatra; I heard Pat Boone--
Pat Boone doing Muddy Waters' or whoever's number, you know, selection.
But then I said, "Why can't I do as Pat Boone does...
"and play good music for the white people...
and sell as well there as I could in the Neighborhood ?"
And that's what I shot for writing "School Days": nice, nice music.
And, ah, it caught on.
[ Cheering ] * They're really rockin' in Boston *
* In Pittsburgh, PA
* Deep in the heart of Texas *
* Around the Frisco Bay
* All over St. Louie [ Cheering ]
* Way down in New Orleans *
* Everybody wants to dance with *
[ Audience ] * Sweet little 16
* Has just got to have
* About a half a million
* Famed autographs
* Her wallet filled with pictures *
* She gets 'em one by one *
* Becomes so excited
* Watch her, look at her run, run, run *
* Oh, Mama, Mama
* Please may I go
* It's such a sight to see *
* A good rock 'n' roll show *
* Oh, Daddy, Daddy
* I beg of you
* Whisper to Mama
* It's all right with you
* 'Cause they'll be rockin' onBandstand*
* In Philadelphia, PA
* Deep in the heart of Texas *
* And 'round * And 'round the Frisco Bay *
* All over * All over St. Louie * [ Cheering ]
* New Orleans
* Everybody wanna dance with *
[ Audience ] * Sweet little 16
* She's got the grown-up blues *
* Miniskirts and hot pants *
* Sometimes she don't even wear shoes *
* Oh, but tomorrow mornin' *
* She'll have to change her trend *
* And be Sweet 16
* And get back in class again *
* 'Cause I'll be rockin' onBandstand*
* Philadelphia, PA
* Deep in the heart * Deep in the heart of Texas *
* 'Round the F-- Frisco Bay *
* All over St. Louie
* Down in New Orleans
* Everybody wants to dance with *
[ Audience ] * Sweet little 16
Louder ! * Everybody wants to dance with *
[ Audience ] * Sweet little 16 * Thank you !
** [ Stops ] [ Cheering ]
** [ Humming ]
* Mabellene
This is my Ford,
my beautiful Ford,
one that I couldafford.
Yeah, I love it.
Black windows.
I can hide anytime I want to hide, you know,
when it's time to hide.
This is a '73.
When I went to sell it, they only wanted to give me $3,000 for it,
and it was worth ten, so why sell it ?
This is a '77 I bought in California, had it all goosed up.
$4,000 ? No. I kept it.
Other one's a '77. '73, '75, '77.
None of 'em wanted to give me what I wanted for 'em, so they set here.
I'll let 'em set 20 years.
Then I'll sell them to you for $50,000.
[ Chuck ] * I'm an all-American boy
**
* As I was motorvating
* Back in town
* I saw a Cadillac sign say *
* "No Money Down"
* So I eased on my brakes *
* Pulled up in the drive *
* Gunned my motor twice
* Then I walked inside
* The dealer came to me
* Said trade in that Ford *
* Put you in a car
* That'll tear up the road *
* Just tell me what you want *
* And then sign that line *
* I'll have it brought down to you *
* In 15 minutes' time
* I'm a get that car
* Yeah, and I'm gonna head on down the road *
* Yes, then I won't have to worry *
* With that broken-down, ragged Ford *
* I want a yellow convertible *
* Four-door De Ville
* With a continental spare
* And wire chrome wheels
* I want air-condition
* Automatic heat
* I want a full Murphy bed *
* In my back seat [ Cheering ]
* Shortwave radio
* TV and a phone
* 'Cause I like to talk to my baby *
* When I'm out ridin' alone *
* Yeah, and I'm gon' head on down the road *
* Then I won't have to worry *
* Oh, with that broken-down, ragged Ford **
**
** [ Stops ]
[ Cheering ]
Probably, like most musicians of my generation,
I first really heard Chuck Berry through the Rolling Stones.
I think I learned my first Chuck Berry lead from Keith Richards, probably,
and, uh, that first Rolling Stones record...
where I think they had "Oh, Carol"...
and a few other Chuck Berry songs.
And then from them I kinda went back, and I got his records.
And I guess the funny thing was...
I think that his influence on my own writin' came out more later on,
when I wanted to write the way I thought that people talked.
'Cause that's how I felt. That's how he writes.
You know, right before--
You know, if you listen to one of his songs,
it sounds like somebody's comin' in, sittin' down in a chair...
and tellin' ya a story about their aunt or their brother...
or describing some girl.
His descriptiveness and his eye for detail--
like, uh, like "Nadine," you know ?
* She was standin' on the corner I saw her on the corner She turned and doubled back *
* I started walkin' to a coffee-colored Cadillac **
You know, it was like-- I've never seen a coffee-colored Cadillac,
but I know exactly what one looks like. [ Laughing ]
**
* As I got on the city bus and found a vacant seat *
* I thought I saw my future bride walkin' up the street *
* Shouted to the driver, Hey, conductor, you must *
* Slow down, I think I see her Please let me off this bus *
* Nadine
* Honey, is that you
* Whoa, Nadine
* Honey, is that you
* Every time I see you you got something else to do *
* I saw her from the corner when she turned and doubled back *
* I started walkin' toward her coffee-colored Cadillac *
* Pushin' through the crowd tryin' to get to where she's at *
* Campaign shoutin' like a southern diplomat *
* Nadine
* Is that you
* Whoa, whoa, whoa, whoa Nadine *
* Is that you
* Every time I see you You got somethin' else to do *
* You know
* She moves around like a wayward summer breeze *
* Go, driver, go, go 'head Catch her for me, please *
* Moving through the traffic like a mounted cavalier *
* A-leanin' out the taxi window tryin' to make her hear *
* Nadine
* Is that you
* Wow, Nadine
* Is that you
* Every time I see you, honey You are up to somethin' new **
[ Cheering ]
Thelma, do you remember that Sunday after church,
when Daddy and Mother came home after they got through singin' ?
I didn't care about the singin'. I was bouncing a ball, and it went under the table.
I went under the table, and instead of bending to get the ball--
You scooted across. I remember. Yeah, yeah.
And when I scooted out from under the table, the big round table we have,
Mother says, "Do that again." Mm-hmm.
And every time company came, I had to do that for Mother, and they'd laugh and laugh.
It's just the entertainment, I guess, in my blood.
Never came into my mind again...
until I got to the Paramount Theater in Brooklyn.
In the middle of "Mabellene,"
had nothing to do but play a riff,
and just thought I'd go down on my knees and play the riff and scoot along.
And the people went-- the audience just went--
I said, "Ho ho ho, I'll keep that in there."
I'd never met him. Today he walked in the door.
And I went, "Chuck Berry, my hero !" It just came out.
* Go, Johnny Go, go, go **
[ Lennon ] I don't think there's any group in the world, white or black--
but mainly the white kids were really turned on by Chuck Berry.
Not one of us, the Beatles, the Stones--
you name any top group, they've all been influenced by him.
His lyrics were very intelligent lyrics.
In the '50s, when people were just singin' virtually about nothin',
he was writin' social comment songs.
He was writin' all kinds of songs with incredible meter to the lyrics,
which influenced Dylan and me and many other people.
The meter was tremendous. He's the greatest rock 'n' roll poet, and I really admire him.
Thank you, ladies and gentlemen.
And now, at this time, I'd like to introduce a young man...
who is the seat of the greatest influence...
in rock music in the '60s.
Believe me, has done not only my music...
but the world a great tribute in rock music.
None other than his son Julian Lennon to do "Johnny B. Goode."
Come on, Julian. [ Cheering ]
Look at him ! Ain't he like his pa ? Yeah !
**
Oh, yeah !
* Deep down in Louisiana Close to New Orleans *
* Way back up in the woods among the evergreens *
* There stood a log cabin made of earth and wood *
* There lived a country boy named Johnny B. Goode *
* Who never ever learned to read or write so well *
* But he can play a guitar just like a ring in a bell Go, go *
- I hear you ! - * Go, Johnny, go, go
I hear you ! * Go, Johnny, go, go
- Sing the song ! - * Go, Johnny, go, go
Oh, yeah ! * Go, Johnny, go, go
- Oh, yeah ! - * Johnny B. Goode
* He used to carry his guitar in a gunnysack *
* Go sit beneath the tree by the railroad track *
* Old engineer would see him sittin' in the shade *
* Strummin' with the rhythm that the drivers made *
* People passin' by They would stop and say *
* Oh, my, but that little country boy can play * Yeah, yeah !
* Go, go Go, Johnny, go, go *
* Go, Johnny, go, go
* Johnny B. Goode
**
[ Cheering ]
[ Chuck ] Sing the song, Julian !
* His mother said that someday you will be a man *
- * You will be the leader of a big ol' band * - Yes, you will.
* Many people passin' from miles around * Yes, they will.
* To hear you play your music 'til the sun goes down * Yes, you do.
* Maybe someday your name will be in lights * Oh, yeah !
- * Sayin' Johnny B. Goode tonight * - Sing the song now !
* Go Go, Johnny, go, go *
[ Chuck ] Come on, help the boy ! * Go, Johnny, go, go
* Go, Johnny, go, go Go, Johnny, go, go *
* Johnny B. Goode * Oh, yeah !
John Julian Lennon !
[ Cheering ]
Tell Papa hello. I will.
I'll tell you what he says.
Well, we got in a fight. That's when we become friends.
He whooped my butt. [ Laughing ]
[ Interviewer ] So why were you two fighting ?
He said he was King of Rock 'N' Roll, and I said I was.
And he said he was, and he proved he was.
I didn't argue with him no more.
What do you think was distinctive about Chuck's--
Talent. God-given talent.
Charisma. He has a certain--
Chuck Berry is the greatest-- He's the Hank Williams of rock 'n' roll.
Chuck was aware of what the Grand Ole Opry was.
We talked about that when we first met. He listened to the Grand Ole Opry in St. Louis.
My first impression of Chuck was that, uh,
he was a black country singer, sort of.
It was rhythm and blues, but it wasn't so rhythm and blues at the time.
Uh, sort of with a country flavor.
That may sound very strange, but it was-- I still feel that way.
I still feel very strongly that...
Chuck might have been a mixture of...
first rock 'n' roll, rhythm and blues and then some country.
[ Chuck ] * Long-Distance Information Give me Memphis, Tennessee *
* Help me find the party tried to get in touch with me *
* She could not leave her number, but I know who placed the call *
* My uncle took the message and he wrote it on the wall *
* Help me, Information Get in touch with my Marie *
* She's the only one who'd phone me here from Memphis, Tennessee *
* Her home is on the south side high up on a ridge *
* Just a half a mile from the Mississippi Bridge *
* You know the last time I saw Marie she was waving me good-bye *
* With Hurry Home drops on her cheek and that trickle from her eye *
* Marie is only six years old Information, please *
* Try to put me through to her in Memphis, Tenne-- *
* Oh, help me, Information More than that I cannot add *
* Only that I miss her and all the fun we had *
* We were pulled apart because her mom did not agree *
* And tore apart our happy home in Memphis, Tennessee **
[ Cheering ]
[ Clapton ] If you want to play rock 'n' roll...
or any upbeat number, and you wanted a guitar ride,
you would end up playing like Chuck, or what you learned from Chuck.
'Cause there is very little, actually, other choice.
There's not a lot of other ways to play rock 'n' roll other than the way Chuck plays it.
If you try to play all the double-string stuff,
it's really full, you know ?
If you give me a break in a fast, you know,
and I start playing single lines, it doesn't sound right.
It just doesn't sound right. It sounds thin or something, or too "fiddly."
Explain. You know, like to go--
** [ Playing Single Notes ]
It would be okay, but it wouldn't be as good as-- ** [ Layering Notes ]
Really, for me anyway.
So he's really laid the law down for playing that kind of music.
**
* Tell me who's the girl standing over by the record machine *
* Lookin' like a model on the cover of a magazine *
* She's too cute to be a minute over 17 *
* Meanwhile I was thinkin'
* She's in the mood No need to break it *
* I got a chance I'll take it *
* If she can dance we can make it *
* Come on, Queenie let's shake it *
* I said, go, go, go little Queenie *
Come on, everybody say "Go !"
* I said go, go, go little Queenie *
* There she is again standin' over by the record machine *
* Lookin' like a model on the cover of aOuimagazine *
* You know she's too cute to be a minute over 17 *
* Meanwhile I was still thinkin' *
* If it's a slow song we'll omit it *
* If it's a rocker I'll try to get it *
* If it's good you all gonna admit it *
* Well, come on then Let's get with it *
* I said, go, go, go little Queenie *
Go, Keith, go !
My man, all right !
* There she is again standin' over by the record machine *
* Lookin' like a model on the cover of aOuimagazine *
* You know she's too cute to be a minute over 17 *
* One more time I said, go, go, go little Queenie *
* I said, go, go, go little Queenie *
* I said, go, go, go little Queenie **
I remember Alan Freed tellin' me about...
somebody throwin' bricks through his windows with a note wrapped around.
Tied around, and tellin' him that he's gonna get run out of the neighborhood...
because he defied the system.
The community tradition.
He defied them, and then our good friend, Dick Clark,
came up with the television thing and started to puttin' us thing and started to puttin' us American Bandstand.
We had something to sing, but we couldn't dance. No, you couldn't dance.
We couldn't participate in the audience.
Because if you're in the audience, he'd let you out.
The station was owned by people, I think,
that prohibited him to go that far with us.
Why was it done ? Answer that for the record.
Why was it done if he didn't want it to be done ? He was the master of ceremonies.
I say this: It was still a little Jewish boy...
that got it over the country with Alan Freed.
Amen. Amen. He still got it over the country.
And he did a good job. I love you, Alan ! Alan !
- You're darned right. - It wasn't anything we were doing so wrongly.
It was just that people was so slow... You were black !
to accept change. You was black !
Tell him again. Will you tell him, man, again ?
You was black, and they didn't want that black image over their kids.
You was a hero. The kids was lookin' up to you.
- They didn't want their kids lookin' up-- - What kids ? What kids ?
They didn't want the white kids lookin' up at this big ol' greasy black guy,
uh, uh, out of Georgia, out of Mississippi or out of Chicago.
They want their kids to see a smooth white boy looking pretty and all dudey.
And lookin' "rootie." You know ?
And so here's a black out there singing' and screamin' and beamin' and steamin'.
They said, no, no, no !
And now, ladies and gentlemen, here's the young fella--
As a matter of fact, he's right at the age I was when I started out.
A beautiful, mellow, ripe 29-ish, you know.
And a matter of fact, this dude even looks like me. Let's bring him out.
Robert Cray !
Robert's gonna do "Brown-eyed Handsome Man" !
Yo !
**
* Arrested on charges of unemployment *
* He was sittin' in the witness stand *
* The judge's wife phoned the district attorney *
* Said free that brown-eyed man *
* You want your job You better free that brown-eyed man *
* Flyin' across the desert in a TWA *
* I saw a woman walkin' across the sand *
* She'd been walkin' 30 miles en route to Bombay to meet a brown-eyed handsome man *
* Her destination was a brown-eyed handsome man *
* Way back in history 'bout 3,000 years *
* In fact, ever since the world began * What happened, Bobby ?
* There's been a whole lot of good women sheddin' tears *
* About a brown-eyed handsome man *
* A lot of trouble * A lot of trouble He's a brown-eyed He's a brown-eyed handsome man *
Everybody ! ** [ Instrumental ]
* I know Venus was a beautiful lass *
* She has the world in the palm of her hand *
* She lost both arms in a "wrastling" match *
* To win a brown-eyed handsome-- *
* She fought and won herself a brown-eyed handsome man *
* 2-3, the count, nobody on He hit a high fly to the stands *
* Roundin' third and headin' for home *
* It was a brown-eyed handsome man *
* That won the game, it was a brown-eyed handsome man **
** [ Instrumental ]
Robert Cray !
Robert Cray, ladies and gentlemen !
Fran, how long have you been working with Chuck ?
Now I've been with him just a little over 30 years.
30 years ? Just a little over 30 years. Not very long.
I started to say 'til Tuesday. 30 years and three weeks.
I've been here since Tuesday.
How'd it start ? Casual Introduction. That's all.
He needed a secretary and I needed a different change.
I was looking for change. You came to hear the music at a rock and roll show.
Yes, so we went and saw Chuck Berry, and I left the next day.
I was 21, and I was here a year,
and we had already established our offices, a nightclub.
We were owning and operating two corporations.
That was a terrible load on a 21-year-old.
They didn't know what I was either.
They didn't know if I was white or black.
A lot of 'em thought you were my wife.
Yes, a lot of 'em thought I was his wife. They still do.
They don't know, and they wouldn't ask. They were too polite.
I have been married since October the 28th--
It's hard for a man to remember these things.
October 28, 1950-- 1948...
until, I guess, it'd be about 2000...
before I even think of separating.
But for all rock and roll stars who go on the road,
they've got 40 million girls out there screaming and yelling for them.
Is that hard ? Is what hard ? Well, I'll tell you this.
No, it's not hard if you have a conviction at your home.
If you keep the home fires burning, you do what you wanna do.
And as I always said, use discretion.
Be sensible about it. Keep the home fires burning.
My name is Themetta Silks Berry,
and I have been married to Charles Berry for 38 years.
We have had a wonderful marriage.
We love each other as much as we did the day we met.
You'd been married about five years before-- [ Chuck ] Baby, that's enough.
[ Man ] I remember him growing up as a young man with a mechanical mind.
He stayed busy all the time.
And I would say he would be, in effect, a very unique person.
I'm a beautician by trade,
and Charles was interested in that type of thing, and it influenced him.
He went to the same school I did and graduated and everything,
and he started doing some of the heads on tours when he would go on tours.
So he had a lot of fun doing that, and I had a lot of fun asking him about it.
And he would try to do his hair and I would see little flaws that he would make.
I guess the thing I remember most about Chuck was...
he was a deep thinker and he loved to hear and play the blues.
[ Lucy ] Chuck was a very loving brother.
He used to go to bed at 9:00 every night,
and every day, my mother fed him Bulgarian buttermilk.
That's the reason why he's got so much energy today.
**
* Run into a throw Hard workin' at the mill *
* Never fail in the mail Boy, you get a rotten bill *
* Too much monkey business *
* Too much monkey business for me to be involved in *
* Salesman talkin' to me tryin' to run me up a creek *
* Say you can buy it Go on, try it You can pay me next week *
* Too much monkey business *
* Too much monkey business for me to be involved in *
* Blonde haired, good-lookin' Tryin' to get him hooked *
* Want him to marry get a home and settle down and write a book *
* Too much monkey business *
* Too much monkey business for me to be involved in *
Go, Keith, go, go , go !
** [ Instrumental ]
* Same thing every day gettin' up and goin' to school *
* No need of you complainin' Your objection's overruled Yeah *
* Too much monkey business *
* Too much monkey business for me to be involved in *
* Pay phone, something wrong dime's gone *
* We'll mail I oughta sue the operator She's tellin' me a tale *
* Too much monkey business *
* Too much monkey business for me to be involved in *
* A friend of Yokohama been fightin' in the war *
* Army bunk, army shower army clothes, army car *
* Too much-- whoa
* Too much monkey business *
* Too much monkey business for me to be involved in *
* Workin' in the fillin' station Too many tabs *
* Wipe the windows check the tires check the oil, no gas *
Hah ! * Too much monkey business *
* Too much monkey business for me to be involved in **
Chuck has had a couple of run-ins with the law and had problems.
Come on, come on. No, I don't want it.
I don't want to hear about it. I don't wanna hear about it.
We'll talk about that at the proper place, not over the desk here.
* Ridin' along in my automobile *
* My baby's beside me at the wheel *
* I stole a kiss a the turn of a mile *
* My curiosity runnin' wild
* Cruisin' and playin' the radio *
* With no particular place to go *
* Ridin' along in my automobile *
* I was anxious to tell her the way I feel *
* So I whispered softly and sincere *
* She leaned and put something in my ear *
* Cruisin' far and drivin' slow *
* With no particular place to go *
** [ Instrumental ]
* Ridin' along the Kokomo
* With no particular place to go *
* The night was young and the moon was gold *
* We both decided to take a stroll *
* Can you imagine the way I felt *
* I couldn't unfasten the safety belt *
* Ridin' along in that calaboose *
* Still tryin' to get that belt loose *
* All the way home I held a grudge *
* The safety belt just wouldn't budge *
* Cruisin' and playin' the radio *
* With no particular place to go *
One more, one more !
** [ Instrumental ]
That's all, folks !
Ladies and gentlemen, "Wee, Wee Hours" with Eric Clapton !
Man of the blues !
**
* In the wee wee hour
* That's when I think of you *
* In the wee wee hour
* That's when I think of you *
* You say again I wonder *
* If our love was ever true *
Yeah, yeah, yeah ! Sing the song, Eric !
* In a wee little room
* I sit alone thinkin' of you *
* In a wee little room
* I sit alone and think of you *
* I wonder if you still remember *
* All the little things we used to do *
Johnnie Johnson !
** [ Instrumental ]
* One little song
* For a fading memory
* One little song
* For a fading memory
* Of the one I really love *
* The only one for me *
** [ Instrumental ]
[ Chuck ] Take another one ! Take another one !
How 'bout it ? How 'bout it ?
Is he all right ?
Eric Clapton, ladies and gentlemen ! Man of the blues !
[ Chuck ] And now !
Fantastic ! She's Fabulous !
Tremendous ! Powerful ! Dynamite !
Lady of the blues, Miss Etta James !
Come here, baby !
This is my girl !
* Just let me here some of that rock 'n' roll music * * Hey
- * Any old way you choose it * - * One more time
* It's got a backbeat you can't lose it * * Go ahead, baby
* Any old way you choose it * * Yes, darlin'
* It's gotta be rock 'n' roll music * * Uh-huh
- * If you wanna dance with me * - * Yeah
* If you wanna dance with me *
* I have no kick against modern jazz * * All right
* Unless they try to play it too darn fast * * Know what you mean
* And change the beauty of the melody * * Yeah
* Until it sounds like a symphony * * Yeah, I got it
* That's why I go for that rock 'n' roll music * * Don't blame you
* Where any old time you use it * * You can feel it
* It's got a backbeat You can't lose it * * I know what you mean
* Any old way you choose it * * Anytime
* It's gotta be rock 'n' roll music * * Put it on
* If you want to dance with me *
* Way down south they gave a jubilee *
* The country folks they had a jamboree *
* They're drinkin' home brew from a wooden cup *
* And started playin' "All Shook Up" *
* I started that rock 'n' roll music * * Again
* Or any old way you choose it * * One more time
* It's got a backbeat You can't lose it * * Twist the thing
* Or any old way you choose it * * Sing the song
* It's gotta be rock and roll music * * Say it again
* If you want to dance with me *
* Don't care to hear them do the tango *
* I'm in no mood * I'm in no mood to do the mambo *
* It's way to early for the congo *
* So keep a-rockin' that piano *
* So I can hear that rock 'n' roll music *
* Any old way * Any old way you choose it *
* It's got a backbeat * It's got a backbeat You can't lose it * * Yeah, yeah
* Any old way you choose it *
* It's gotta be rock 'n' roll music *
* If you want to dance with me Yeah, yeah, yeah *
* It's gotta be rock 'n' roll music *
* Any old way you choose it *
* It's gotta be rock 'n' roll music *
* Any old way you choose it *
* It's gotta be rock 'n' roll music *
* Eh-eh, eh-eh, eh-eh-eh-eh *
* Any old way you choose it *
* It's got a backbeat You can't lose it *
* Any old way * Any old way you choose it *
* It's gotta be * It's gotta be rock 'n' roll music *
* If you wanna dance with me *
* If you wanna dance with me **
Etta James ! Etta James !
Keith Richards ! Give her a big hug !
Oh ! Wow !
As long as the music has something do with your walk of life,
I think the people will listen.
And so that's why I wrote about schools.
Half of the young people go to school.
And, uh, and I wrote about life.
Half of the people have cars. I wrote about cars.
And most of all the people, if they're not now, they'll soon be in love.
And those that have loved, and are out of love...
remember love so I write about love.
So I wrote about all three, and I thought I hit a pretty good capacity of the people.
**
* Up in the mornin' and off to school *
* Teachers are teachin' the golden rule *
* American history and practical math *
* Study hard and hope to pass *
* Workin' your fingers right down to the bone *
* And the guy behind you won't leave you alone *
* Soon as three o'clock rolls around *
* You finally lay your burden down *
* Close up your books Get out of your seat *
* Down the halls and into the street *
* To the corner and round the bend *
* Right the juke joint you go in *
* Drop the coin right in the slot *
* Gotta hear somethin' that's really hot *
* With the one you love you're makin' romance *
* All day long we've been wantin' to dance *
* Feelin' good from head to toe *
Everybody repeat after me.
* Hail, hail rock 'n' roll
* Delivery me from the days of old *
* Long live rock 'n' roll
* The beat of the drums loud and bold *
* Rock, rock rock 'n' roll *
* The feeling is there body and soul *
Come on up here, Ingrid. Come on !
Come on up here, Etta !
Come on, Julian !
-Let me hear you say "Yeah" ! - Yeah !
* We're gonna say bye-bye
* Bye, bye, bye
* Bye, bye, bye, baby *
One word from Keith Richards !
Good night, ladies and gentlemen. Good night, Chuck.
[ Keith ] I'm walkin' out of this gig feelin' very happy.
And for the band !
[ Keith ] I wanted to serve Chuck up with a good band, and I did it,
and that was my gig, no matter what happened. [ Laughing ]
Hail ! Hail ! Rock 'n' roll !
We said this months ago over here, this isn't going to be easy.
We knew that this is gonna go on until it's finished.
And it was even going on onstage.
Uh...
But you cannot-- I cannot dislike the guy, even so.
He gives me more headaches than Mick Jagger, but I still can't dislike him.
I can't. I mean, I love him, and I love his family.
I've done what I wanted to do for him.
He's a good man, cool.
Now I'm gonna sleep for a month.
Chuck Berry, when he's remembered,
what do you want people to say ?
I'll tell you what. I could say--
I won't know. It is out of my department after I'm gone.
But whatever it be,
I just hope it's real and it's a fact which will be the truth.
That's it. I hope they'll just speak the truth.
Be it pro, con, bad, good.
I was going to say black and white, but it wouldn't be right.
[ Keith ] He decided to write a book, make a movie,
and he opened the door and he thought he could just let a few people in,
and goddamn it, the whole world came in.
He thought he could control how many came in,
but suddenly the outside world flooded in,
and that's maybe what's so intriguing about him.
The more you find out about him, the less you know about him.
A little dream castle. The shades are all drawn.
* A little dream castle
* With everything gone
* It's lonely and silent
* The shades are all drawn
* And my heart is heavy as I gaze upon *
* A cottage for sale
* The lawn we were proud of
* Is glowing in hay
* Our little dream garden
* Has withered away
* Where you planted roses
* The weeds stand to say
* A cottage for sale
* Through every single window *
* There's empty space
* When I reach that window *
* There's empty space
* They key's in the mailbox
* The same as before
* But no one is waiting for me anymore *
* The end of my story is told on the door *
* A cottage for sale
* Oh-oh
* It's just a cottage
* For sale *
Closed-Captioned By Captions, Inc. Los Angeles