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DVD video |
| 4.901 Ft
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| 1. | I"m A Man
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| 2. | Bo Put the Rock In Rock and Roll
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| 3. | My Ding-A-Ling
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| 4. | Destination
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| 5. | Who Do You Love?
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| 6. | Gunslinger
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| 7. | Hey Bo Diddley
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| 8. | Rock N Roll Music
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Filmed live at The Irvine Meadows Ampitheatre on October 25, 1985, several of rock's most heralded talents join Berry and Didley for a musical free-for-all. Songs include "Rock N' Roll Music", "My Ding-a-Ling" and "Destination."
Exactly as it is billed, the Bo Diddley All Star Rock n Roll Jam sees a gathering of all star rock musicians paying tribute to Bo Diddley. Filmed at the Irvine Meadows Amphitheatre in October 1985, band members include Ron Wood, John Mayall, Mick Fleetwood, Kenney Jones, Carmine Appice, John Lodge, Carl Wilson, Mitch Mitchell. Rock n Roll veteran Chuck Berry also puts in an appearance in what is possibly one of the all time unrepeatable gigs. Songs included here include I'm A Man, Who Do You Love, Hey Bo Diddley, Rock n Roll Music and My Ding A Ling.
Chuck Berry
Active Decades: '50s, '60s, '70s and '80s
Born: Oct 18, 1926 in St. Louis, MO
Genre: Rock
Styles: R&B, Rock & Roll
Of all the early breakthrough rock & roll artists, none is more important to the development of the music than Chuck Berry. He is its greatest songwriter, the main shaper of its instrumental voice, one of its greatest guitarists, and one of its greatest performers. Quite simply, without him there would be no Beatles, Rolling Stones, Beach Boys, Bob Dylan, nor a myriad others. There would be no standard "Chuck Berry guitar intro," the instrument's clarion call to get the joint rockin' in any setting. The clippety-clop rhythms of rockabilly would not have been mainstreamed into the now standard 4/4 rock & roll beat. There would be no obsessive wordplay by modern-day tunesmiths; in fact, the whole history (and artistic level) of rock & roll songwriting would have been much poorer without him. Like Brian Wilson said, he wrote "all of the great songs and came up with all the rock & roll beats." Those who do not claim him as a seminal influence or profess a liking for his music and showmanship show their ignorance of rock's development as well as his place as the music's first great creator. Elvis may have fueled rock & roll's imagery, but Chuck Berry was its heartbeat and original mindset.
He was born Charles Edward Anderson Berry to a large family in St. Louis. A bright pupil, Berry developed a love for poetry and hard blues early on, winning a high school talent contest with a guitar-and-vocal rendition of Jay McShann's big band number, "Confessin' the Blues." With some local tutelage from the neighborhood barber, Berry progressed from a four-string tenor guitar up to an official six-string model and was soon working the local East St. Louis club scene, sitting in everywhere he could. He quickly found out that black audiences liked a wide variety of music and set himself to the task of being able to reproduce as much of it as possible. What he found they really liked -- besides the blues and Nat King Cole tunes -- was the sight and sound of a black man playing white hillbilly music, and Berry's showmanlike flair, coupled with his seemingly inexhaustible supply of fresh verses to old favorites, quickly made him a name on the circuit. In 1954, he ended up taking over pianist Johnny Johnson's small combo and a residency at the Cosmopolitan Club soon made the Chuck Berry Trio the top attraction in the black community, with Ike Turner's Kings of Rhythm their only real competition.
But Berry had bigger ideas; he yearned to make records, and a trip to Chicago netted a two-minute conversation with his idol Muddy Waters, who encouraged him to approach Chess Records. Upon listening to Berry's homemade demo tape, label president Leonard Chess professed a liking for a hillbilly tune on it named "Ida Red" and quickly scheduled a session for May 21, 1955. During the session the title was changed to "Maybellene" and rock & roll history was born. Although the record only made it to the mid-20s on the Billboard pop chart, its overall influence was massive and groundbreaking in its scope. Here was finally a black rock & roll record with across-the-board appeal, embraced by white teenagers and Southern hillbilly musicians (a young Elvis Presley, still a full year from national stardom, quickly added it to his stage show), that for once couldn't be successfully covered by a pop singer like Snooky Lanson on Your Hit Parade. Part of the secret to its originality was Berry's blazing 24-bar guitar solo in the middle of it, the imaginative rhyme schemes in the lyrics, and the sheer thump of the record, all signaling that rock & roll had arrived and it was no fad. Helping to put the record over to a white teenage audience was the highly influential New York disc jockey Alan Freed, who had been given part of the writers' credit by Chess in return for his spins and plugs. But to his credit, Freed was also the first white DJ/promoter to consistently use Berry on his rock & roll stage show extravaganzas at the Brooklyn Fox and Paramount theaters (playing to predominately white audiences); and when Hollywood came calling a year or so later, also made sure that Chuck appeared with him in Rock! Rock! Rock!, Go, Johnny, Go!, and Mister Rock'n'Roll. Within a years' time, Chuck had gone from a local St. Louis blues picker making 15 dollars a night to an overnight sensation commanding over a hundred times that, arriving at the dawn of a new strain of popular music called rock & roll.
The hits started coming thick and fast over the next few years, every one of them about to become a classic of the genre: "Roll Over Beethoven," "Thirty Days," "Too Much Monkey Business," "Brown Eyed Handsome Man," "You Can't Catch Me," "School Day," "Carol," "Back in the U.S.A.," "Little Queenie," "Memphis, Tennessee," "Johnny B. Goode," and the tune that defined the moment perfectly, "Rock and Roll Music." Berry was not only in constant demand, touring the country on mixed package shows and appearing on television and in movies, but smart enough to know exactly what to do with the spoils of a suddenly successful show business career. He started investing heavily in St. Louis area real estate and, ever one to push the envelope, opened up a racially mixed nightspot called the Club Bandstand in 1958 to the consternation of uptight locals. These were not the plans of your average R&B singers who contented themselves with a wardrobe of flashy suits, a new Cadillac, and the nicest house in the black section. Berry was smart with plenty of business savvy and was already making plans to open an amusement park in nearby Wentzville. When the St. Louis hierarchy found out that an underage hat-check girl Berry hired had also set up shop as a prostitute at a nearby hotel, trouble came down on Berry like a sledgehammer on a fly. Charged with transporting a minor over state lines (the Mann Act), Berry endured two trials and was sentenced to federal prison for two years as a result.
He emerged from prison a moody, embittered man. But two very important things had happened in his absence. First, British teenagers had discovered his music and were making his old songs hits all over again. Second, and perhaps most important, America had discovered the Beatles and the Rolling Stones, both of whom based their music on Berry's style, with the Stones' early albums looking like a Berry song list. Rather than being resigned to the has-been circuit, Berry found himself in the midst of a worldwide beat boom with his music as the centerpiece. He came back with a clutch of hits ("Nadine," "No Particular Place to Go," "You Never Can Tell"), toured Britain in triumph, and appeared on the big screen with his British disciples in the groundbreaking T.A.M.I. Show in 1964.
Berry had moved with the times and found a new audience in the bargain and when the cries of "yeah-yeah-yeah" were replaced with peace signs, Berry altered his live act to include a passel of slow blues and quickly became a fixture on the festival and hippie ballroom circuit. After a disastrous stint with Mercury Records, he returned to Chess in the early '70s and scored his last hit with a live version of the salacious nursery rhyme, "My Ding a Ling," yielding Berry his first official gold record. By decade's end, he was as in demand as ever, working every oldies revival show, TV special, and festival that was thrown his way. But once again, troubles with the law reared their ugly head and 1979 saw Berry headed back to prison, this time for income tax evasion. Upon release this time, the creative days of Chuck Berry seemed to have come to an end. He appeared as himself in the Alan Freed bio-pic, American Hot Wax, and was inducted into the Rock & Roll Hall of Fame, but steadfastly refused to record any new material or even issue a live album. His live performances became increasingly erratic, with Berry working with terrible backup bands and turning in sloppy, out-of-tune performances that did much to tarnish his reputation with younger fans and oldtimers alike. In 1987, he published his first book, -Chuck Berry: The Autobiography, and the same year saw the film release of what will likely be his lasting legacy, the rockumentary Hail! Hail! Rock'n'Roll, which included live footage from a 60th-birthday concert with Keith Richards as musical director and the usual bevy of superstars coming out for guest turns. But for all of his off-stage exploits and seemingly ongoing troubles with the law, Chuck Berry remains the epitome of rock & roll, and his music will endure long after his private escapades have faded from memory. Because when it comes down to his music, perhaps John Lennon said it best, "If you were going to give rock & roll another name, you might call it 'Chuck Berry'."
---Cub Koda, All Music Guide
Bo Diddley
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Dec 30, 1928 in McComb, MS
Died: Jun 02, 2008 in Archer, FL
Genre: Rock
Styles: Electric Chicago Blues, R&B, Rock & Roll
He only had a few hits in the 1950s and early '60s, but as Bo Diddley sang, "You Can't Judge a Book by Its Cover." You can't judge an artist by his chart success, either, and Diddley produced greater and more influential music than all but a handful of the best early rockers. The Bo Diddley beat -- bomp, ba-bomp-bomp, bomp-bomp -- is one of rock & roll's bedrock rhythms, showing up in the work of Buddy Holly, the Rolling Stones, and even pop-garage knock-offs like the Strangeloves' 1965 hit "I Want Candy." Diddley's hypnotic rhythmic attack and declamatory, boasting vocals stretched back as far as Africa for their roots, and looked as far into the future as rap. His trademark otherworldly vibrating, fuzzy guitar style did much to expand the instrument's power and range. But even more important, Bo's bounce was fun and irresistibly rocking, with a wisecracking, jiving tone that epitomized rock & roll at its most humorously outlandish and freewheeling.
Before taking up blues and R&B, Diddley had actually studied classical violin, but shifted gears after hearing John Lee Hooker. In the early '50s, he began playing with his longtime partner, maraca player Jerome Green, to get what Bo's called "that freight train sound." Billy Boy Arnold, a fine blues harmonica player and singer in his own right, was also playing with Diddley when the guitarist got a deal with Chess in the mid-'50s (after being turned down by rival Chicago label Vee-Jay). His very first single, "Bo Diddley""I'm a Man" (1955), was a double-sided monster. The A-side was soaked with futuristic waves of tremolo guitar, set to an ageless nursery rhyme; the flip was a bump-and-grind, harmonica-driven shuffle, based around a devastating blues riff. But the result was not exactly blues, or even straight R&B, but a new kind of guitar-based rock & roll, soaked in the blues and R&B, but owing allegiance to neither.
Diddley was never a top seller on the order of his Chess rival Chuck Berry, but over the next half-dozen or so years, he'd produce a catalog of classics that rival Berry's in quality. "You Don't Love Me," "Diddley Daddy," "Pretty Thing," "Diddy Wah Diddy," "Who Do You Love?," "Mona," "Road Runner," "You Can't Judge a Book by Its Cover" -- all are stone-cold standards of early, riff-driven rock & roll at its funkiest. Oddly enough, his only Top 20 pop hit was an atypical, absurd back-and-forth rap between him and Jerome Green, "Say Man," that came about almost by accident as the pair were fooling around in the studio.
As a live performer, Diddley was galvanizing, using his trademark square guitars and distorted amplification to produce new sounds that anticipated the innovations of '60s guitarists like Jimi Hendrix. In Great Britain, he was revered as a giant on the order of Chuck Berry and Muddy Waters. The Rolling Stones in particular borrowed a lot from Bo's rhythms and attitude in their early days, although they only officially covered a couple of his tunes, "Mona" and "I'm Alright." Other British R&B groups like the Yardbirds, Animals, and Pretty Things also covered Diddley standards in their early days. Buddy Holly covered "Bo Diddley" and used a modified Bo Diddley beat on "Not Fade Away"; when the Stones gave the song the full-on Bo treatment (complete with shaking maracas), the result was their first big British hit.
The British Invasion helped increase the public's awareness of Diddley's importance, and ever since then he's been a popular live act. Sadly, though, his career as a recording artist -- in commercial and artistic terms -- was over by the time the Beatles and Stones hit America. He'd record with ongoing and declining frequency, but after 1963, he'd never write or record any original material on par with his early classics. Whether he'd spent his muse, or just felt he could coast on his laurels, is hard to say. But he remains a vital part of the collective rock & roll consciousness, occasionally reaching wider visibility via a 1979 tour with the Clash, a cameo role in the film Trading Places, a late-'80s tour with Ronnie Wood, and a 1989 television commercial for sports shoes with star athlete Bo Jackson.
---Richie Unterberger, All Music Guide |
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