In the pantheon of rock and roll pioneers, Chuck Berry stands as a foundational figure. While the legendary musician passed away on March 18, 2017, at the age of 90, a fascinating glimpse into his enduring impact and complex personality was captured in 1986. On the occasion of his 60th birthday, a series of concerts in his native St. Louis, celebrating his career and the release of his signature hit “Maybellene” 31 years prior, brought together music’s titans. Among them was Keith Richards of the Rolling Stones, whose own musical journey owed a significant debt to Berry’s innovative guitar work.
This event, documented for Taylor Hackford’s film “Hail, Hail Rock ‘n’ Roll,” was more than just a concert; it was a convergence of two powerful musical forces, initially marked by creative friction but ultimately culminating in a memorable performance. Film director Taylor Hackford was on hand to capture the magic, and through his lens, an intimate portrayal of Berry’s artistic process and his interactions with fellow artists, particularly Richards, unfolded. This account, originally published on October 18, 1986, offers a unique perspective on the dynamics behind the music that defined generations.
The Birthday Bash: An All-Star Tribute
Thirty-one years after the release of his groundbreaking hit “Maybellene,” Chuck Berry, the architect of rock’s youthful anthems, celebrated his 60th birthday. The festivities included a concert in New York, but the heart of the celebration took place at the historic Fox Theatre in St. Louis. This event was not just a birthday party; it was a cinematic undertaking, as director Taylor Hackford (“An Officer and a Gentleman,” “White Nights”) was filming for his documentary, “Hail, Hail Rock ‘n’ Roll.” The film, a $2.5 million production, was slated for release the following summer.
Berry, renowned for his spontaneous approach to touring with unrehearsed bands, was joined by an extraordinary ensemble of musicians. The lineup featured none other than Keith Richards, whose guitar playing embodies a clear and dramatic evolution of Berry’s signature ringing style. Also gracing the stage were Eric Clapton, Linda Ronstadt, Julian Lennon, Etta James, Robert Cray, and Berry’s long-time piano collaborator, Johnny Johnson. The legendary Bob Dylan was expected but had to withdraw due to illness.
Creative Tensions Emerge
Despite the star-studded lineup and the celebratory occasion, the concerts were not without their dramatic turns. Technical difficulties led to significant delays, pushing the start of the first show back to 7:30 p.m. and the second to a late-night 12:30 a.m., with Berry finally leaving the stage around 2:30 a.m. These logistical hurdles, coupled with the demands of filmmaking, cast a shadow over the performances.
More significantly, the concerts became a stage for the simmering tension between Berry and Richards, which had reportedly surfaced during days of rehearsal. While Berry was known to let other artists lead when they performed his songs, he insisted on maintaining control when he was at the microphone. At a press rehearsal, Berry’s annoyance was palpable when Richards continued to take a leading role. “You’re gonna have to let me lead on the songs I sing,” Berry asserted, adding, “I’m responsible for how they go over.” This exchange led to Richards temporarily leaving the stage.
Finding the Groove: The Second Show
The first show mirrored some of this disunity, with musicians occasionally seeming to operate at cross-purposes, and Berry and the band struggling to find a cohesive groove. Backstage between sets, an anxious meeting took place between Richards, Berry, and Hackford, with the director later describing the situation as “a disaster in a way.”
However, many of the technical and personal issues were apparently resolved, leading to a smoother second performance. In this later show, Berry ceded much of the guitar playing and tempo-setting to Richards, focusing instead on his vocals. Though his voice was hoarse, his performance was notably more effective and engaging. As Hackford observed, “When you deal with Chuck there is conflict. . . He has a way of doing things only his way. And Keith is also a very strong personality.”
The audience, in stark contrast to the walkouts during the first show, remained engaged until the end of the second performance, erupting in applause for the closing numbers. The finale featured a vibrant entrance of Berry driving a red Cadillac convertible onto the stage while performing “School Days,” a top 10 hit from 1957. Berry and Richards were seen embracing multiple times during this performance, signifying a reconciliation.
Reflections on a Legend
Following the concert, neither Berry nor Richards was eager to speak with reporters. Berry, in a brief encounter at a cake-cutting ceremony, deferred comments on the shows to the critics. Richards, heading to his limo, simply stated his participation was about “repaying some dues.” When asked about his feelings at the end of the first show, he responded sharply, “I could have killed him,” though an aide clarified this was likely colorful expression of frustration rather than genuine animosity, emphasizing Richards’ deep admiration for Berry.
Director Taylor Hackford, in a tiny backstage room, offered his perspective on the challenges and the eventual triumph. He acknowledged the inherent conflict when working with strong personalities like Berry and Richards, but stressed the documentary’s aim was not to present a polished, commercialized image. Instead, the goal was to capture “some of the brilliance of this man and at the same time the difficulty of this man.”
The legacy of Chuck Berry, marked by both his immense musical contributions and his challenging persona, continues to resonate. His work, foundational to rock and roll, laid the groundwork for countless artists who followed. The “Hail, Hail Rock ‘n’ Roll” concerts, despite their initial hurdles, ultimately showcased the enduring power of his music and his indelible place in the history of popular culture.
Explore more about Chuck Berry’s enduring legacy by discovering his Chuck Berry greatest hits album and the timeless appeal of his Chuck Berry albums.