It’s not important whether or not Chuck Berry “invented” rock ‘n’ roll, and the crucial thing isn’t that he perfected it. It’s that we call rock ‘n’ roll would sound much different and be a lot less unique and ecstatic if not for the template he provided.
As large as Berry looms in American music history, getting a handle on the immensity of his importance has, until now, been somewhat difficult. Certainly, the Matryoshka Principle applies, as it must with any progenitor: when you’ve indelibly influenced the artists who have influenced the artists who have influenced the artists, this succession of homages (intentional or not) is at once unequivocal but somehow insufficient. When we stop and consider the masters, whose earliest stuff sounds ancient, even derivative (think The Beatles’ earnest but stiff efforts, or even The Rolling Stones’ more convincing but still saccharine and stylized imitations), as desperate attempts to replicate Berry, it puts things in more appropriate perspective. Chuck Berry is pater familias of a whole new American music; he didn’t invent rock ‘n’ roll—he just made it inevitable.
To younger ears, some of the hits may sound a tad redundant, variations on a recurring motif. If so, the same could be said about the parables within the New Testament. And like that slightly momentous text, these themes are meant as both foundation and instruction manual. All of which is not to say Berry wasn’t an extremely perceptive and versatile pupil: he’d studied the blues, jazz and country music that, thrown into an aesthetic blender, rock music overflowed from. Henceforth, it would forever be a gumbo of competing and complimentary source points, but Berry’s first-person flights of fancy still represent its most undiluted potential.
Recorded in May, 1955, “Maybellene” signifies the proverbial Big Bang: a blueprint for the type of music that became rock ‘n’ roll when people like The Beatles and The Rolling Stones and myriad opportunistic white boys tried their damnedest to evoke that singular sound. In addition to being the first salvo, it’s arguably the most significant, as it merges much of what came before and hinted at what we’d be hearing much more of—from Berry and others: some serious backwoods country elements, a healthy dose of jazzed up style and the unmistakably gritty blues guitar; a signature sound, in short. Also, and importantly, the combination of cars and girls, a formula perfected by Berry, is in full effect here: this is not a rock ‘n’ roll song, this is rock ‘n’ roll.
While Elvis seems to have a stranglehold on the spurious “King of Rock” crown, history won’t forget that Chuck Berry did not simply (!) write the modern songbook from which a million simulations sprang, he himself was the prototype, the complete package to whom all contenders must defer. For example, where both Little Richard and Jerry Lee Lewis played piano, Berry stood center stage, yielding the instrument that would underlie rock’s evolving ethos: electric guitar. His guitar is like an M.C., introducing each of those consequential early singles, and it rides shotgun, rhythm and lead, equal billing to Berry’s confident voice. Never a work-in-progress, Berry arrived fully-formed, like a clay god formed on Olympus. Another crucial distinction: Berry sang the songs he wrote, becoming in effect the first rock frontman, incorporating swagger, charisma, perfect hair and the devilish glint to offset the angelic voice. Or, if you like, all the assets of Lennon/McCartney (or Jagger/Richards) rolled into one.
Enough can never be said about the fact that Berry was the original triple-threat: musician, singer and lyricist (add in the stage antics, including his epic duck walking, and you have the magic recipe emulated by diverse legends ranging from Jimi Hendrix and Neil Young to Prince). While justly celebrated as rock’s first “poet”—and certainly a prototype for subsequent singer/songwriters like Bob Dylan—the whole “elevating lyrics to poetry” approbation is not erroneous, but it still misses the mark: Berry’s songs are straight-up short stories. What transpires in the three minutes (or less!) of condensed pop perfection like “Johnny B. Goode”, “Brown-Eyed Handsome Man” and “You Never Can Tell” is narrative. The song serves as a vehicle for adventure or escape or deliverance is something Bruce Springsteen has made a career out of, and compared to the early work of The Beach Boys, Beatles and Stones (all of whom covered or outright copied Berry), what Berry achieved between 1955 and 1961 seems like literature.
The smart money, then, predicts that time will only affirm and reinforce Berry’s place at the top of the pantheon. With his death, it also seems likely we’ll get a more thorough and nuanced assessment of Chuck Berry’s cultural importance, which runs the clichéd spectrum of good, bad and ugly. Before, during and especially after his commercial peak, Berry was at once a trailblazer in matters of race and perhaps racist America’s most conspicuous casualty.
Did Berry, often depicted as his own worst enemy at times, simply pay the price for breaking a law (however racially inspired and enforced)? Or was he another irresistible target for a white establishment intent on keeping black men—regardless of or else because of their popularity—in their place, like Jack Johnson before him and Muhammad Ali after him? Is there any reason it isn’t a bit of both? If any icon of the 20th Century could be said to contain multitudes in the Whitmanesque sense, it’s Berry.
Let’s hope that Berry’s indiscretions and defects, somewhat glossed over since most of his life occurred before the proliferation of tabloids, not to mention the internet, will not now dominate discussions of why his music will endure. However understandably, we hate being reminded that so many of our best artists tend to be repugnant people. As such, it would be more than a little ironic if a man who paid the price in all the most hackneyed, but very real, ways—whether against “the man” or white bands making millions from his formula, or being yet another musician cheated out of more millions by the charlatans who’ve often run the music business—ends up being posthumously besmirched for character flaws too many white artists have had overlooked or forgiven.
Much has been made of the fact that Berry, embittered and paranoid, showed up, alone, at gigs, demanded payment (in cash) up front, and didn’t care if amateurs he’d neither met nor rehearsed with shared the stage. Was he selling out, or just honest enough to acknowledge he was already an oldies act, and shrewd enough to know that he was the draw? To be sure, audiences would not have continued showing up, decade after decade, if he routinely dispensed incompetent performances. Plus, what does it say about a man who didn’t want, or couldn’t abide, either the comradery of regular bandmates or hangers-on? Perhaps Berry lasted—and thrived—as long as he did because he was tough enough not to need anyone else. Not unlike Jackie Robinson, Berry broke barriers, and while he made good money during his career, his American Dream extracted a heavy toll.
How much easier would it have been if he’d been willing (able?) to play the game; if he could ingratiate himself the way we demand of our artists, and athletes? That he couldn’t—or wouldn’t—isn’t a tragedy; if he had, it’s worth wondering whether he would have made the same music. Every time his amply documented quirks and recalcitrance are recalled, we should never forget the original line in “Johnny B. Goode” was not “country boy” but “colored boy”. With a combination of talent, dedication, and tenacity, he willed himself to be that brown-eyed, handsome man, a king within a segregated state.
We never could quite catch him, and now he’s gone…like a cool breeze? No, that’s too easy, but also inaccurate. The cool breeze is what he became; what he invented. That was the persona he perfected, equal parts shield from and artifice for the world, a world that could never fully fathom or appreciate what he meant, what he signifies, as an artist and American. He was the cool breeze. But he took that air with him and what’s left is an arid void, silent, and more than a little sad. It’s also something awe-inspiring and unconquerable.
This article originally appeared in PopMatters on 3/24/17.