It’s the Queen of Soul’s birthday today, so here she is covering Stephen Stills’ Love The One You’re With,from Live at Fillmore West (1971), one of the great live soul recordings; edged out, arguably, only by Otis Redding’s Live in Europe (1967). Anyway…
“I say, play your own way. Don’t play what the public wants. You play what you want and let the public pick up on what you’re doing. Even if it does take them fifteen, twenty years.” – Thelonious Monk
“The purpose of Taylor Hackford’s 1987 film Hail! Hail! Rock ‘n’ Roll was to document two concerts held at the Fox Theatre in St. Louis to celebrate Chuck Berry’s 60 birthday, and that it does, giving audiences loads of concert footage. Berry plays the hits, backed by an all-star band of legendary bluesmen, R&B singers, and rock guitarists, assembled and directed by president of the Chuck Berry fan club, Keith Richards: There’s Bobby Keys and Chuck Leavell, Robert Cray and Eric Clapton, Etta James and Linda Ronstadt. And that’s not to mention the “talking head” appearances from people like Bo Diddley, Jerry Lee Lewis, Roy Orbison, Little Richard, and Bruce Springsteen. In the pantheon of rock-docs, it’s up there with Last Waltz. The live takes are electrifying—the band’s pistons pound as they struggle to keep up with Berry. If the man had slowed down any in his sixth decade, it’s little wonder he had trouble holding onto backing bands in his youth. Watch him go in the 1958 clip below.
But there’s another reason Berry burned through musicians. He is not an easy man to work with (nor, I would think, for). Brilliant live performances abound in Hackford’s film, but its principle charm is the rehearsal footage, where Berry berates and bewilders his musicians–and sometimes, like he does above to Richards, takes them to rock ‘n’ roll school. In the clip above, Richards, Berry, and band rehearse “Carol,” but it takes them a good while to get going. Richards tries to play bandleader and, thinking he’s doing Chuck a favor—or not wanting to lose the spotlight—suggests that Berry play rhythm while he plays the lead. Berry agrees at first. They bicker and look daggers at each other as Richards spoils a bend that only Chuck can play to his own satisfaction. Finally he dives in and takes over. Why not? It is his song. Richards falls in line, takes the rhythm part, but looks a little sullen as Berry outshines him. It’s almost an oedipal struggle. But the old rock forefather isn’t about to roll over and let the Brit take over.”
THIN GHOST 