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In Celebration of
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November 15-20
All Children's Books
Reduced 20%
For your child’s reading library.
For your child's growing imagination.
Come in today and check our classic
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Mon-Frl 7 30-5 30
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Qanaral Books (M-1S10
as
Chuck Berry
Continued from Page 1
B
None of those songs
addressed the reality of
teenagers lives. Not until Berry
i — not until they heard him sing
ing and playing with his slick
and almost maniacal intensity.
Berry had an uncanny ear and
eye for the angst of American
youth, black and white. He sang
of V-8 Fo'ds and Coupe de
Villes, capricious loves, sweet
sixteen, jukeboxes, rockin’ in
Boston and Pittsburgh P A and
being almost grown It was the
truth
Berry s stage show was a
phenomenon separate from his
brilliant recordings. On stage he
personified rock music's infec
tious rhythms. This jumpy,
pompadoured, brown-eyed
handsome black man in his
baggy trousers was the con
summate rocker. Whether doing
the spiits, bouncing across the
stage on his heel while strum
ming up the frets of his cherry
finish Gibson Stereo guitar or
doing the "duck walk," he was
rarely motionless. Always the
professional, Berry played the
hits the audience called out for
as if it was the first time
He was touring almost
constantly, "one hundred and
one nights in one hundred and
one days.” From New York to
Los Angeles and back again,
Berry did the big package
shows through 1959 while he
kept writing hits.
The list is voluminous, atter
"Maybellene" came "Roll Over
Beethoven," and then his
"Schooldays,” Sweet Little
Sixteen,” "Rock n' Roll Music,”
"Johnny B Goode," "Oh Baby
Doll," "Memphis" and "Reelin'
and Rockin’.” Thereafter are
hits, lesser hits, seminal hits and
personal favorites
Sailor talkin' to me,
Tryin' to run me up a creek,
Go on, you can buy it,
You can try it,
You can pay me next week,
ahhh,
Too much monkey business,
For me to be involved with
you.
Too Much Monkey Business
You know I’m doin'
all right in school,
You know I don’t
break too many
rules,
I don’t ever get in
dutch,
I don’t browse
around too much.
Almost Grown
V
Graphic courtesy of Zorro Studios
Berry’s tunes are considered
the prototypes of how to phrase
rock lyrics. The phtas^s reap
between the on and off-tlme and
are resolved right on beat. Berry
explains his lyrics by saying "ft's
mathematics. If it’s eight beats'
to two bars, then you can sing
eighteen syllables. It’s always
best to sing fifteen, so you can
grab a breath now and then.”
Berry fell out of favor in the
early 60s, partly due to legal
problems, partly due to changes
in the music scene American
youth all but forgot the progeni
tor of rock music until British
musicians came across the
Atlantic singing Berry’s tunes.
It was something of a shock to
hear the Beatles and Rolling
Stones playing “Round and
Round," “Roll Over Beeth
oven" and “Little Queenie,"
redefining the music for the next
generation
It is said imitation is the sh
eerest form of flattery. The Bri
tish musicians were playing
Berry's tunes with only minor
changes from his original
arrangements. Pete Town
shend, in “Substitute," may
have been thinking of Berry
when he wrote "I look all white,
but my dad was black."
Berry is a taciturn man who
lives a reclusive life in Wentz
ville, Mo. He still tours and plays
selective gigs with performers
like Bo Diddley. It's almost odd
that the man who did so much
for breaking down the barriers
of race, who all but singlehan
dedly defined the form known as
rock n' roll, who has survived
almost three tumultuous
decades of music should live
quietly in Berry Park Perhaps
it’s not odd — perhaps it's apt
Let me hear some of that rock
'n' roll music,
Any old way you choose it,
It's got a back beat you can't
lose it,
Any old way you use it,
It's gotta be rock n' roll
music,
If you wanna dance with
me Rock'n 'Roll Music
By Cort Fernald
Wed,Dec 8
8pm
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Hug* Donc* floor ,
with limited fating
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