Chuck Berry



Re: Chuck Berry

Postby Richard Harvey » Wed Jun 14, 2017 8:08 pm

When I saw the CD I ordered the vinyl as well. It's quite a historic release, and the artwork (cover aside) is really nice. Even the cover's growing on me. I still play vinyl - though mostly Jazz -so this'll get quite a few spins.

It'll certainly get a lot more long-term plays than Jerry Lee's Mean Old Man, Rock & roll or perhaps even Last Man Standing! Not sure on the last one. But you realise what a true creative artist Chuck was on this new CD. I've got some thoughts on the lyrics that I'll offer up soon.
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Re: Chuck Berry

Postby wolfgangguhl » Sat Jun 17, 2017 8:59 am

Great debut at #9 in the UK Albums Chart for Chuck, it sold 7,299 copies.

First Chuck Berry album to make the Top 100 in the UK since 1977, his seventh chart entry in all:

#12 - 05/1963 - CHUCK BERRY
#06 - 10/1963 - CHUCK BERRY ON STAGE
#09 - 12/1963 - MORE CHUCK BERRY
#08 - 05/1964 - THE LATEST AND GREATEST
#18 - 10/1964 - YOU NEVER CAN TELL
#07 - 02/1977 - MOTORVATIN'
#09 - 06/2017 - CHUCK
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Re: Chuck Berry

Postby wolfgangguhl » Sat Jun 17, 2017 9:05 am

Belgian Albums (Ultratop Flanders)
61

Belgian Albums (Ultratop Wallonia)
39

Dutch Albums (MegaCharts)
61

German Albums (Offizielle Top 100)
31

Italian Albums (FIMI)
72

Scottish Albums (OCC)
10

Swedish Albums (Sverigetopplistan)
34

UK Albums (OCC)
9
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Re: Chuck Berry

Postby Dirk B. » Sun Jun 18, 2017 1:13 pm

I've finally listed to the album and I really enjoyed it. My favourite track is the spoken word "Dutchman", followed by "Big Boys". As "Blueberry Hill" is mentioned as one place of the recordings I guess "3/4 Time" is a live recording from the "Blueberry Hill" - perhaps that one is from 2013? Chuck's voice sounds great on all tracks - it hasn't changed much since the 50's.
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Re: Chuck Berry

Postby wolfgangguhl » Sun Jun 18, 2017 3:19 pm

Live track was recorded in 2008 at Blueberry Hill.
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Re: Chuck Berry

Postby Richard Harvey » Sun Jun 18, 2017 7:26 pm

I'd love to know when all the different tracks were recorded. If I were a bettig man, I'd say Big Boys is the most recent.
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Re: Chuck Berry

Postby wolfgangguhl » Sun Jun 18, 2017 10:10 pm

He did not walk into a studio and record a track. Instead the tracks were put together over several years.
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Re: Chuck Berry

Postby wolfgangguhl » Mon Jun 19, 2017 4:40 pm

Czech Albums (ČNS IFPI)
21

French Albums (SNEP)
39
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Re: Chuck Berry

Postby wolfgangguhl » Tue Jun 20, 2017 10:49 am

US Billboard 200
49
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Re: Chuck Berry

Postby wolfgangguhl » Tue Jun 20, 2017 10:53 am

"Chuck" sold more copies than "Mean Old Man" and "Rock'n'Roll Time", but did not perform as strong as "Last Man Standing".
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Re: Chuck Berry

Postby Richard Harvey » Tue Jun 20, 2017 11:07 pm

I read the rolling Stone review, and whilst I agree that for the average listener, three stars out of five is an okay score, I thought the review was too vague and flippant for a legendary artist like Chuck. They should have got Fred Rothwell to review it.
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Re: Chuck Berry

Postby Dirk B. » Wed Jun 21, 2017 8:56 am

I also bought the "Palladium"-live-album. The sound is great - as you can expect from a radio broadcast. Chuck is in good spirits, but - as mostly during live shows - his guitar is out of tune. The CD only bonus track billed as "Riding Along" is nothing else but the studio version of "No particular place to go".
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Re: Chuck Berry

Postby wolfgangguhl » Wed Jun 21, 2017 11:11 am

Richard Harvey wrote:I read the rolling Stone review, and whilst I agree that for the average listener, three stars out of five is an okay score, I thought the review was too vague and flippant for a legendary artist like Chuck. They should have got Fred Rothwell to review it.


This review is nonsense. Indeed they should have gotten a reviewer, who knows what he is talking about.
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Re: Chuck Berry

Postby Dirk B. » Thu Jun 22, 2017 10:41 am

Great review of the album - from A.V. Club:
http://www.avclub.com/review/chuck-berr ... d-c-256592

Barring any additional posthumous releases, the last song on the last album that Chuck Berry ever recorded will be “Eyes Of Man,” a midtempo blues number with a vocal performance more spoken than sung. It clocks in at just a little over two minutes—at the end of a 10-track LP that doesn’t quite reach a total running time of 35 minutes—and it offers up a bit of homespun wisdom from a man as he was approaching 90. Berry talks about the male hubris in building “temples” to themselves, and how the women in these guys’ lives are responsible for making sure their structures endure. In his refrain, the Rock And Roll Hall Of Famer advises younger listeners on how to deal with “those who do not know and do not know that they do not know,” as well as “those who know that they do not know” and “those who do not know that they know.” These words are initially confounding, but soon begin to make a kind of deeper sense. Then, just as it feels like “Eyes Of Man” is about to say something profound, it ends. And nothing comes after.

Chuck Berry is one of our culture’s more complicated figures. His life story represents the best of American opportunity, and the worst of fame and privilege. He had more than 60 years in the music business, a span during which he wrote and recorded dozens of songs that have become rock ’n’ roll standards; yet because his heyday was in an era that prized singles over full-lengths, he didn’t leave behind any one definitive album. When Berry died in March, luminaries like Rolling Stones guitarist Keith Richards rushed to proclaim his singular genius and influence, while also admitting that as a person, he could be difficult. (In Mikal Gilmore’s in-depth obituary in Rolling Stone magazine, Richards is quoted as saying, “I couldn’t warm to him even if I was cremated next to him.”)

It would’ve been hard for Berry to defend his life and summarize his art on Chuck, which was both his final album and his first new collection of recordings since the 1979 record Rock It. So he didn’t really try. Recorded off and on over the course of several years (mostly in Berry’s hometown of St. Louis), Chuck is the kind of record a veteran working musician makes, and not what anyone would consider a “comeback” or self-epitaph. It doesn’t really compare, say, to Warren Zevon’s elegiac, self-aware last album, The Wind, or June Carter Cash’s feisty, heartwarming goodbye, Wildwood Flower. Aside from “Eyes Of Man,” Chuck is low on “there’s something important I need to tell you” songs.

That’s not to say that the new album is completely unaware of its context. Two songs on the record overtly nod to Berry’s back catalog. “Jamaica Moon” is a rewrite of “Havana Moon,” a lilting tropical exercise that failed to become a hit back in the ’50s—something Berry attributed to Castro’s revolution in Cuba. And “Lady B. Goode” is a sequel of sorts to “Johnny B. Goode,” concerning a woman who supported a fledgling rock star.

There are a lot of songs on Chuck that salute women. In addition to “Eyes Of Man” and “Lady B. Goode,” the album opens with the rollicking love song “Wonderful Woman,” and includes the country-inflected barrelhouse ballads “You Go To My Head” and “She Still Loves You.” Both “Darlin’” and “Dutchman” were written from the perspective of a grizzled oldster, reflecting on mistakes made and the woman he should’ve cherished more. And the whole record is dedicated to Berry’s wife of 68 years, Themetta.

For those who’ve read about Berry’s history as a womanizer and scoundrel—which landed him in court or in jail multiple times throughout his life—it’s hard not to hear much of Chuck as an apology, aimed at the person who stuck with him through the kind of scandals that would’ve ended nearly any other marriage. From 1979 through the end of the 20th century, Berry would occasionally tell people that he didn’t have much interest in writing or recording anything new because he did just fine touring around the world, playing the old hits. But then suddenly, at the end of his life, he picked up a pen again and headed back into the studio—almost like he was anxious to settle unfinished business.

But this is only speculation—and it’s important to note that it’s not necessary to even be aware of Chuck Berry to enjoy Chuck. The songs here don’t really rise up to the level of a “Brown Eyed Handsome Man” or “No Particular Place To Go,” but the album as a whole has a very loose, appealing sound. Despite guest appearances by Gary Clark Jr., Tom Morello, and Nathaniel Rateliff, nothing about Chuck comes off as grandiose or fussily reverent. The sessions prominently feature Berry’s children on guitar and background vocals, which better describes the vibe of this record: It’s like a family project, hammered together in the backyard on weekends.

Casual rock fans who only know the basics of the Berry discography—the “Roll Over Beethoven”s and “Maybellene”s—may be surprised by how eclectic Chuck is. But those who are aware of how the guitarist started a musical revolution by bringing hillbilly standards to black R&B clubs should appreciate the album’s range, which properly reflects Berry’s history. Songs here vary from the scorching throwback “Big Boys” to a joyously woozy live cover of Tony Joe White’s Tex-Mex novelty number “3/4 Time (Enchiladas).” Taken altogether, this is back-to-basics rock ’n’ roll, where the strands of country and western, roadhouse blues, and Broadway bravado that bound together the original rockers are all right there on the surface.

But because of who made this album and when it was released, it’s also tempting to listen between the lines. That, after all, is what being invested in pop is all about. If some 22-year-old nobody wrote and recorded the songs on Chuck, the album would still be pretty terrific, but it would take on a different meaning. Coming from the oft-inscrutable 90-year-old father of rock, the record carries with it all his baggage. And the questions it raises lend an animating tension to even the simplest songs.

Chuck’s a wonderful piece of American music, and ultimately as enigmatic and elusive as the man who filed it on his way out the door. Here’s its biggest mystery: Before he left us forever, did Berry consider himself one of “those who know” or “those who do not know”? And was he right or wrong?
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Re: Chuck Berry

Postby jarireinikka » Thu Jun 29, 2017 6:41 pm

Ok,just listened through this 1st time,Barnes & Noble limited white vinyl edition.A-side better,but no songs were left to sound in my head,so 1st impression is ,ok album,but nothing really special,and didn´t like the "other" guitars,I´d wished that there would have been just Chuck´s.Still great to have new Berry album,but wished that it would have been years ago already.Very nice looking package with gatefold cover & 32-page booklet,that´s really nice. Will listen again someday... back to new Paladins lp,which is really great!!!
Last edited by jarireinikka on Fri Jun 30, 2017 5:50 pm, edited 1 time in total.
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