Saturday, November 22, 2014

Jack Hadley Talks about The St. Louis Sessions


For a year or two now I've been remotely following a Colorado musician named Jack Hadley after first hearing about him from Bob Lohr.  A few months later things started heating up with word of recording sessions and big Italian meals in St.. Louis's Hill neighborhood.  A couple weeks ago I got my hands on the results, a CD called Jack Hadley: The St. Louis Sessions, and decided it was time to revive the website again.  After all, here's a record that includes a couple of Chuck Berry's current musicians, recorded by one of his older ones right in Mr. Lohr's "Blues Rock Ground Zero."  So I sent Mr. Hadley some questions and got back golden prose.  So, buy the CD HERE.  And enjoy!


How did a blues man from Colorado end up recording in St. Louis?

In April or May of 2013 I was invited to play at the Rauma Blues Festival in Rauma, Finland with Bob, Keith Robinson and bassist Terry Coleman. The original performer, Chicago guitarist/singer Chainsaw Dupont, was scheduled to play at this festival, but he had some health issues couldn’t do the tour. My wife is from St. Louis and we had been down there visiting her family. While we were in town I played at BB’s Jazz, Blues & Soups with these guys. When we got back to Colorado Bob called and asked if I had a current passport. I said “Yes” and that was it. One thing led to another, the promoter checked me out and gave me the green light. The festival went very well (took place in July 2013). When we got back to the USA, Bob said I should come down to St. Louis and record some new music. The vibe is completely different there. And that’s how I ended up recording “The St. Louis Sessions.”


Tell us about the record. What were you trying to do? How do you feel about the result?

Well, I was trying to make a blues record, period. I have a lot of different influences in my playing and songwriting: folk, reggae, fusion, rock, blues, and many others. Bob Lohr was instrumental in keeping me on the blues road, musically speaking, while still keeping my own voice in the mix. For example, when I sent the rough mix of “I Need Somebody” to Bob, he said I needed to “shuffle-ize” it, make it more blues. I didn’t understand it at first. But I changed the rhythm guitar approach and turned it around. It’s a shuffle done my way — a little bit outside, if you know what I mean. I fingerpick a lot, and that’s the approach with this song. And I know it resonates with people, on the radio and especially on the dance floor.

I played a lot of funk and R&B music in the past, and it shows. I also have the Hendrix thing which is also a huge influence for me. I needed to reign in the funk (although that style is prominent in “Something So Bad”), and bring my inner B.B./Robert Cray to the forefront. I wanted to showcase the blues/soul feel that I have and focus on good songs. I’m very happy with the result. I think we avoided a lot of blues clich├ęs…and God knows there are so many out there. 

I have to give props to Nichole Olea, a great St. Louis-based photographer. She and Bob are friends and she took the fantastic shots that I used on the CD and all of my promotional material for “The St. Louis Sessions.” I also used K-Line Guitars courtesy of Chris Kroenlein, another St. Louis bad-ass. This guy makes custom electric guitars that are second to none. 

How long did the process take? How long were you in the city?

The recording process took a little more than 4 months. I live in Boulder, Colorado, right outside of Denver. I flew into St. Louis every 6 weeks or so, working on my own here in Colorado and the songs were refined in St. Louis. My wife is from St. Charles and I was able to stay with my mother-in-law, drive to the studio, and take care of business. I couldn’t have made this CD without her help. The recording process started in September 2013 and finished up in January 2014.

The next phase was mixing the tracks. David Torretta worked his magic and Bob sent the tracks to me as he moved forward. This took 2-3 months. When the final mixes were done, we sent them to Matt Murman for mastering. This took a few more months. Matt has a worked with tons of blues artists, people like Lurrie Bell, Arthur Crudup, Big Joe Williams, Eddy Clearwater and Roosevelt Sykes, to name a few. The engineering of David Torretta, the guidance of Bob Lohr and the final touches by Matt Murman really brought this project to a higher level. 


Did you make it out to the local clubs to hear some of the local musicians? 

I didn’t really have time to do that. But I’ve spent time at BB’s Jazz, Blues & Soups before. I have played there a few times with Bob, Keith and Terry before the CD was recorded. In fact, the inside cover shot was taken on the roof of BB’s. Very cool experience. 

Is the record getting some airplay? Do you have any plans to tour with the guys who are on it? Your own band?

“The St. Louis Sessions” is already getting tons of airplay. The official release date was Oct. 20th, 2013. We are working with Todd Glazer Promotions and he’s made all the difference. You need a professional to get your music heard on the radio. I get reports from Todd on a regular basis. The CD has been added to playlists all over the U.S. and Canada. And it’s increasing every day. 

I’m definitely planning on touring with Bob, Keith and Terry, collectively known as The St. Louis Blues All-Stars. I’d like to hit the European festival circuit sometime in 2015, do some shows in America, too. I’m already playing most of these songs with my current trio, The Jack Hadley Band, here in Colorado.

Is it my imagination, or does St. Louis have a special sound and feel? And where does that come from?

It is not your imagination. There is a St. Louis sound. I noticed it the first time I heard Bob Lohr play at a festival here in Colorado a few years ago. And when I came to St. Louis I heard it immediately at BB’s. Drummers know how to play a shuffle in that city – as well as everything else. The guys in the St. Louis Blues All-Stars can play all kinds of different music. 

It could be that St. Louis is much closer to the South, musically speaking. The roots of blues, Rock n’ Roll, gospel, soul and R&B are really apparent. I also think there is a respect for the blues, and people take it seriously. 

What’s the blues scene like in Boulder and Denver? Is there any real history to the music there?

The blues scene in Boulder and Denver is complicated. There is a blues scene but it’s not like St. Louis. There are very few “blues” clubs, and — like many other places — many people only want to hear blues-rock. The blues audience here is a predominately older, White audience. Most Black musicians I know are not interested in the blues, period. A real blues history in Colorado? I would say no. And many of the people who are involved in the local blues scene come from somewhere else. It’s odd. This is almost a reverse segregation with Black people on the R&B/funk/smooth jazz end of the scale and very little crossover. And I’m saying this to you as a board member of the Colorado Blues Society and a musician. I see it every day. The audiences I’ve seen in St. Louis are much more diverse.

The West is a more laid-back environment. It’s easy to live out here. And there are a lot of distractions that might take away from a real interest in what many people consider to be “old” music. People are outside quite a bit since we have lots of sunshine, and you get the impression they would rather hear classic rock or a DJ. Anything but real blues.

Your music seems to mix straight up blues with some really pretty melodies. Who were your influences? Where does that sound come from?

You are correct. I listened to all kinds of music. My Dad is from Louisiana and my Mom was from the Philippines (I was born there). We had Nat King Cole and the Platters on the stereo, never heard any blues. And living in the Bay Area as a kid was a different experience, too. I listened to folk music, started out playing the acoustic guitar, still love finger-picking. Joni Mitchell, CSN&Y, Dylan, you name it.

I like pretty melodies and straight blues. Growing up with all these styles made me realize that I should play what I like. I listened to Hendrix, Led Zeppelin, The Chambers Brothers, Curtis Mayfield, all that stuff growing up. I enjoy funky stuff, too, but I drifted away from R&B because it isn’t guitar-oriented music. Modern R&B has been keyboard/bass/vocal dominated for a long time. 

My guitar influences are all over the map, but in the beginning: Hendrix, Clapton, B.B. King. I think I was influenced by their approach to the guitar, how they construct their solos, their voicing. I dig Hendrix’ inversions, the sting of Robert Cray, the soul of B.B., the raw blues power of Albert King. I love any great music played by masters of the Telecaster, people like Albert Collins, Redd Volkaert and Danny Gatton. Jazz players like Bireli LaGrene and Wes Montgomery. This is all beautiful music to me.

I came to the blues through the back door, listening to everything my friends were into, and realizing much later this is actually another version of the blues – the original pop music. 

Can you talk a bit about your early work in music? Were you in bands as a kid? What were you playing?

I was 12 or 13 when I started playing the guitar. Nothing serious because it was difficult to play. I didn’t realize that a guitar needed to be set up for you in order to play it. As a teenager I played a lot of folk music, rock (courtesy of Hendrix, the Beatles, etc.) I also started playing with other people in bands, sometimes acoustic duos. I remember playing in a duo with a friend of mine playing any kind of music with great harmonies, like Simon & Garfunkle, CSN&Y, that kind of stuff. We played wherever we could, parties and church ceremonies. 

Later on I started playing music by Sly & The Family Stone, early Commodores, Parliament Funkadelic and Slave. I’ve always had one foot in soul music. I’m a huge reggae music fan, too. I played with some guys from Trinidad for a few years in the ‘80s. Another form of soul music, for me, coming out of the Caribbean. 

Your St. Louis sessions brought you in contact with a lot of Chuck Berry’s people-- Bob Lohr, Keith Robinson. Dave Torretta has been working on the “new” Chuck Berry record and played bass on one of my all time favorite unknown CB numbers. What was that like?  

These guys are some of the best musicians I’ve ever played with. Again, the St. Louis thing: the ability to play real blues, not just pretending to play it. The depth of these players can’t be overestimated. When you’re playing with musicians at this level it changes everything. It’s the right sound and you can’t deny it. Terry Coleman on bass? You can’t touch him. Good people, too, with some crazy stories from the road and just the life of a musician.

Casa Del Torretta was a very easy place to record. David Torretta has this dialed in. There are instruments hanging on the walls, small guitar amps, great vocal mics — all the right elements to make good music. And that’s what we did. When we hit a wall we’d take a break and have some great Italian food and a few beers on The Hill, and then get back to work. 

Yes, I’ve heard about the unknown CB tracks. Apparently they’ve been in the works for some time. Hopefully they will be released sooner rather than later.

When you’re working with musicians in St. Louis, can you feel the presence of the greats who started there?  

Oh, hell yes. And when you’re on the Walk of Fame on the Loop and you realize how many great musicians have come out of St. Louis, it’s overwhelming. It makes you want to play well, do the best you can. I didn’t want to half-step on stage or in the studio.

And I have to ask: did you meet Chuck while you were there?

Yes. My wife, Jill, and I did meet Chuck at Blueberry Hill one night in 2013. Bob brought us in through the backstage door. I was speechless. I didn’t want to make a fool out of myself and ask for an autograph so I just said hello and that it was an honor to meet him. We talked for a few minutes, then joined the audience for his one hour set. It was a once-in-a-lifetime experience. 


Thursday, December 12, 2013

Chuck Berry LIVE at The House of Blue Lights

1
 Well, not really!  It was Chuck Berry and Company at Blueberry Hill, the 11th day of December, 2013.  But as you'll see, with my old camera and no flash, there's a blurry blue light that captures the event better than the cold, hard light of my flash.

It was a fun night.  Sometimes it was so much fun Chuck seemed to think we were laughing at him.  "I hear you talking and laughing.  But no man is perfect!"

But never, Mr. Berry.  Everybody loved every moment.

It began, as ever, with "Roll Over Beethoven," followed by a long, beautiful version of "Wee Wee Hours" and a short half version of "Maybellene."  Then a long rock and roll instrumental in G, where Chuck and his band hit the St. Louis groove that I became more familiar with on this trip.  "That was pretty good!" he said, with considerable understatement.

Someone yelled "We love you, Chuck!"

"Thank you girls," he said.  "I know a girl when I hear one!"

There was a moment in the set where Chuck Berry tried to show us all his hearing aid.  "This one's gone," he said, pointing to his right ear.  "If you spend 52 years in front of a drummer you pay a penalty!"

"I didn't say 'a penny,'" he added.  "I've paid this one plenty!"

But that hearing aid obviously helps.  There were some flubbed notes, but on "Wee Wee Hours" and a couple of the instrumentals, Chuck was killing it.  So was the band.

He did "School Days (Ring Ring Goes the Bell)," but forgot to let us sing "Hail! Hail!"

He launched into a short one about no poem as lovely as a tree and admitted "We've never played this one before."  The band members agreed.

When he asked what Chuck Berry songs we wanted to hear I used my position in the front row to lobby for one I've never heard him play.  "No Money Down!" I yelled.  I hold a perfect record on that one.  I still haven't heard Chuck play it-- he stood there listening while Ingrid and the band did a great job on the song.  That made me feel a little bad, but I was consoled by a high five from the rhythm guitarist.  Anyway, it was a great Chuck Berry song that ought to be played more!

To get himself back on track Chuck launched into another rocker instrumental, and once again, they killed it.  Then he asked Bob Lohr what to play.  "How about Johnny B. Goode?"  And they rocked that one, too, with some lyrics I've never heard but that I liked: "a little boy who looked a lot like me!"

Ingrid did a slow blues next.  "You know what I'm talking about ladies, don't you.  I work hard every day taking care of castle keep."

And then a wonderful version of "Reelin' and Rockin'," with the vocal highlight coming from bass player Jimmy Marsala.  At a quarter to 12 Chuck began singing "I didn't know if I was...".  And when he paused for just a breath Jimmy filled the void with "going to Hell!"  Charles was laughing so hard he was unable to play guitar for at least four bars.

A band called Palace opened.  We heard their soundcheck and knew they were good, but during the first few numbers the sound equipment faltered badly and they had to stop mid-song two or three times.  One of their singers-- a very pretty young woman-- told stories and jokes and answered silly questions from the audience while BBH's sound man figured out the problem, and then they went back to work with a shortened by triumphant set of rhythmic pop that mixed bits of Brian Wilson, Queen and The Beatles.  The crowd loved them, so did I, and so did Charles Berry, Jr., who applauded their professionalism afterwards.

All in all, a wonderful night.  We topped it off by staying up way past our bedtimes to see a bit of Roland Johnson's set downtown at The Beale.  I guess I'll pay tomorrow.  Tonight, I'm just pleased we came back to St. Louis one more time.

(Unbelievable!  Just lost all the pictures I was trying to show you.  It was taking forever, so I'll do a selection!)

































Wednesday, December 11, 2013

A Night of Blues and Soul in St. Louis


(I didn't go out in St. Louis with the idea of writing about what I'd seen and heard, so I didn't take notes.  But what I saw and heard was worth recording somehow.  Here's the best I can do under the circumstances.  The way to find out what it was really like- head there yourself!)

I’ve never been to New Orleans (I’m saving it up) but I know about New Orleans-- that it’s a place famous for its musicians.  I know about Memphis, Nashville and Austin (though, come to think of it, I’ve never been to to a couple of those, either.) Everybody knows these places are music places, and still lively that way.

But I didn’t really know about St. Louis.  

Which is odd, considering that my hero and the lifelong object of my obsession hails from St. Louis, and considering that I associate the city names like Albert King, Miles Davis and Ann Peebles.  

But after a quick trip back to St. Louis this December-- one of several that I’ve taken in the last five years-- I’ve finally begun to scratch the surface and learn a little about the city’s still thriving Blues scene.  

In the course of three nights-- December 7, 10 and 11-- my wife and I saw five great performances by artists like Boo Boo Davis, Marquise Knox, Eugene Johnson, Kim Massie and Roland Johnson.  It was easy to do since all of them performed at two cool venues that sit across from each other a few blocks south of the Arch on South Broadway-- B.B.’s Soups, Jazz and Blues and Beale on Broadway.

I’d gone to St. Louis to see my old hero Chuck “one last time.”  (He keeps fooling me.)  But these two clubs-- and I’m sure there are a half a dozen more to add to the list-- are worth a trip to St. Louis all by themselves.  The drinks are big and cheap.  The food at B.B.’s is good.  The crowds ranged from boisterous on the weekend to intimate on a Wednesday.  The music was consistently stellar.

Every night we found a new mix of musicians, always with some crossover from a prior night.  Bassist Gus Thornton played for both Marquise Knox and Kim Massie.  Guitarist Stephen Martin backed up Massie and Roland Johnson.  Drummer Gerald Warren played with Eugene Johnson and stayed to provide beats for Kim Massie.  Keyboardist Robert Lohr was with Delta blues great Boo Boo Davis on Saturday night and on the following Wednesday crossed town to back Chuck Berry.  Eugene Johnson led his own group on Tuesday but also appears on  Marquise Knox’s newest cd.

I can’t pretend to know much about these musicians, (and I went to enjoy the music, not to take notes; I wish now I’d written a few things down) but bassist Gus Thornton provides an example of the depth of talent.  Watching him back up the remarkable Marquise Knox, I was struck by Thornton’s easygoing smile and the effortless way his fingertips touched the five strings of his bass to drive the songs.  A couple of days later Bob Lohr clued me into Thornton’s background playing bass for people like Albert King.  You can check it out yourself and read a good interview of the man HERE.   

Guitarist Stephen Martin, who played with Massie and Roland Johnson has a similarly angelic smile but plays devilishly good stuff on his pale blue Telecaster.  Massie was complimenting him on a new haircut when we saw them together.  You had to crane your neck to see him, tucked away in a corner behind Thornton, but you could hear every lick, down to the subtlest little bent “twing” that got drummer Gerald Warren laughing and nodding at the end of a song.  

And that’s one of the best parts: these musicians, who collect themselves in different groups every night, (or twice a night,) seem to really enjoy hearing and playing with each other.  In Memphis, on Beale Street, we saw some fine musicians putting on a fine show for us toursits, but at Beale on Broadway we saw fine musicians making music with and for each other.  Which works out fine for the audience.  

At the Marquise Knox show one young woman danced with half the men in the place, enticing them to all sorts of silly acts of lust which she then rejected with a grin.  Kim Massie brought out post-it notes and a vase to collect requests and big bills.  (She got plenty!)  Eugene Johnson invited a drummer he’d met in Europe to sit in.  The drummer, who took the sticks from Warren, might have regretted his decision about half way through “Brick House,” but it proved just how good the Warren and the other regular musicians are.  Another guy who took the stage before Roland Johnson’s set had better luck.  He borrowed Stephen Martin’s guitar and began to sing and strum a bit timidly.  We thought it was going to be a disaster, and one man made a face and laughed.  But the further he got, better it sounded, and one by one the musicians began to join him on stage.  Lew Winer, III, comedian of the group, played some wonderful sax, Eugene Johnson added bass, and Roland Johnson even tried to play the drums.  It was downright pretty.

As for the stars, dang!  To hear voices like Kim Massie’s and Roland Johnson’s from ten feet away restores a soul.  Both are great performers, too.  Johnson is as close as I’ll get, in attitude, to seeing Otis Redding alive, and Massie’s all attitude.  (To see Johnson and his band Soul Endeavor live, check out this clip of them playing at the Blues Deli in St. Louis's Soulard neighborhood.  Follow this Link!)  Between great songs Massie fires off wickedly dry one liners and singled me out for a cruelly shouted line questioning my manhood!  (It took a while to forgive her- but you can’t hold a grudge against a voice like that!)

(Here's a chance to hear her with a pretty well known drummer.)







Boo Boo Davis, who plays the first Saturday of every month at B.B.’s Soups, Jazz and Blues, was the old timer of this group, a veteran Delta Blues musician and drummer who helped nurture the current St. Louis blues scene back in the 1970s. B.B.‘s is a long, narrow place with a long bar that opens into a dining room and stage.  You can eat there, too.  When we arrived Davis, resplendent in black leather and bordello red, was seated at the front of the house just beneath the stage taking visits from audience members.  Boo Boo Davis was preceded on stage that night by singer and harmonica player Tom “Papa” Ray, who did a rhumba style “Summertime” on a very cold fall night backed by a group that included Robert Lohr on Piano, Nephew Davis on bass, Carlos Hughes on drums and Larry Griffen on guitar.  Then Boo Boo Davis, who alternates his deep growl of a voice with harmonica.  A man claiming to be his little brother sat whooping and hollering a few feet from us.  I decided his claim might be true when he said “the Wolf’s in the house” just before Davis launched into a startling imitation of Howlin’ Wolf.


When Davis’s first set was over we crossed the street to see and hear Marquise Knox.  At Beale on Broadway, the stage is right next to the front door, so as soon as you enter your are slammed with blues coming full force from a line of old guitar amps that seem to be stationed permanently against the back wall.  We paid our 7 dollars and sat on stools right next to the door while Knox, just 21 years old but completely mesmerizing, leaned forward to do a medley classics and originals.  (One song takes the title of a Billy Peek classic, “Can a White Man Play the Blues?” and makes it relevant to Knox by asking if a young man can.)  (The answer, in both cases, is that if it’s the right one, yes indeed.)  Here's a sample.


I don’t know if Chuck Berry will get me back to St. Louis again, but I know I’ll be back, and that when I return, I’ll go wherever these folks are playing.  And then I’ll head down the river to New Orleans.  ‘Cause I haven’t been there, yet.



Thursday, July 4, 2013

If You Get Too Close, Prologue and Chapter 1


(When I was 14 I saw Chuck Berry perform a set in a nearly empty auditorium in Sacramento, California.  He's been with me ever since.  This blog turned into a book about my imaginary life with a cultural giant.  You can read it below.)



Prologue





When I was twenty-two I drove an ailing Fiat east from Seattle, across the Rocky Mountains and the northern states, as far north as Montreal, down through New England and New York, then west, to a small town in Missouri called Wentzville. I kept a journal throughout the trip, but there’s only a short note about this stop: 

“My car almost kicked the bucket in St. Louis. The brakes went out and it began stalling in the 92 degree heat. Then, somewhat mysteriously, the brakes came back, and I managed to make it all the way to Mecca.”

Reading this 33 years later, I worry about the 22 year old who believed in the spontaneous regeneration of Italian brakes, and I wonder about the absence of detail. There was a story to tell, and I ignored it. Maybe I was still hot with shame. Maybe I already knew that I would never forget my sad visit to “Mecca.”

I remember asking at a gas station how to find it. “The rock singer’s place?” The attendant was young, and ill-informed. (He wrote a verse for you, fool!) But he talked me part of the way there.

I asked again at a store piled high with checkered feed bags and wooden cases of warm, bottled Coca Cola.

“The negro singer?” drawled the proprietor. (I write politely here. He said negro with an “a.”) He pointed his hand with disinterest.

I found it across from a gun club— a granite tombstone, with “Welcome” at the top.

Berry Park
Founded August 15, 1957
By the Family
For the People

It didn’t look like a park— no rides, no customers, no hamburgers sizzling on an open grill, no little cutie to take my hat. There was a chain link fence, a long, asphalt driveway, and at the end, a few low buildings painted brick red. 

What I had read about, years prior, was a place where you could sip a cold drink by the pool, get a hot dog, (or maybe a steak a la “carty”, if you had the cash,) and perhaps see the man himself wander by with a rake or a shovel.

What I hoped for, in the hidden recesses of my being, was more: a place where I could check that nonexistent hat, sip that cold drink, and be recognized by the man himself as a long lost, genetically inferior but much loved child. The part of me that still believed in the spontaneous resurrection of faulty brakes wanted to be welcomed into the bosom of my true home.

There is a rational part of me, too, so what I got instead of hope was a growing sense of foreboding and criminal trespass— the open, obvious understanding that, despite the word “Welcome,” (years later it would be masked for a time by an angry piece of gray duct tape,) this was not a public place open to strangers— it was the private estate of a private man.

But my story has nothing to do with rationality. It is a story of gentle madness, of harmless obsession, a lifelong relationship with a person I’ve hardly met and do not know.

So I eased on my brakes and I pulled in the drive.

I remember idling up the asphalt. 

I remember thinking “This is not a commercial establishment.”

I remember that my Fiat got hot and wouldn’t do no more.

The little Fiat sputtered and died maybe 100 yards up the driveway.

A woman came out of one of the buildings another 50 yards away. In my mind there is the creak and bang of a screen door, and a shotgun, like an old western when an unwelcome stranger shows up. But that’s not what happened. She just stood, arms folded, watching me.

“What do you want?” she asked. She had to raise her voice.

I got out of my car. I had no answer.

“Is he here?” I asked, stupidly.

“He’s not.”

I stood there.

“You need to leave.”

I sat obediently and turned the key. The starter whined uselessly, slower and slower. The woman held her post.

I did the only thing I could. I pushed the car backward out the driveway toward the road. I found a little shade by the gravestone. I waited for the heat of the motor to go down. Eventually the car started and I drove until I found a roadside campground somewhere to the west on I-70. I set up my tent in the dwindling sun and lay there, hungry and humiliated.

Such was my first trip to Berry Park.



Chapter One - My Imaginary Friend


I’m driving along in my automobile with my daughter Gemma. She is 17, a beauty, poet, a budding piano player. She’s telling me something important about her own life— something to do with friends. I begin to respond. I tell her that I never had many as a kid or as a grownup—that I’ve always been satisfied with family and a few good friends. I’m already appalled by my own conversation, which so often comes back to me, me, me, one of the only subjects I know. But I continue. I begin repeating a recent theory of mine, that perhaps life happened that way for me because of the outlandishly alcoholic home I grew up in—that I wasn’t comfortable inviting many people into it. It gets quiet. Gemma’s losing patience. She’s heard this before. As we drive in momentary silence my mind clicks and rolls like a slot machine and the idea tumbles out like a small fortune in heavy coins. 

“Maybe Chuck Berry is my imaginary friend!” I say, as if I’ve discovered something important. Gemma rolls her eyes violently and our conversation crashes to a halt. My daughter has little use for my prehistoric rocker. Like her older sister Jade and their little brother Rafferty, she has had enough. 

But I’m on to something— right? My mind is abuzz as we drive in irritated silence.

That night, in bed, I tell my wife, Rebecca. 

She laughs, hard.

I explain to her that I’m not confused or delusional. I know he’s not my friend. I don’t talk to him in the sandbox. I know I don’t know that I’ve made the proper clinical diagnosis.

But isn’t that the explanation?

Because almost all of my life this public person has been an important part of my private life. Gemma and Jade have grown up to stories about the man. Rafferty once believed “Chuck Berry?” was the answer to almost every question. Who’s singing, Rafferty? Do you know who wrote that song, Rafferty? 

Who is the President of The United States, Rafferty?

Rebecca comes home to stories about people in England, France or Sweden whom I’ve never met. 

“Jan sent me a CD today!” I tell her. She has to work to find context.

“The guy in Iowa?” 

“Germany.”

But she is no longer listening. And who can blame her? 

In my youth there had been a charm to it. My idol was somewhat obscure, his last big hit seven years old. Kids my age hardly knew him. My high school acquaintances followed the latest trends, but not me. I worshipped rock and roll’s first true poet and guitarist. His early recordings were as fresh in 1971— are as fresh today— as they were in the mid-1950s. My early fixation showed a sort of precociousness.

But I’m a grandfather now, with joint pain and whitening hair. Precociousness is no more. 

I can still justify my admiration. In early 2012, Chuck Berry was honored with the Pen New England Award for Song Lyrics of Literary Excellence. Pen New England is America’s oldest literary society. The jury included Salman Rushdie, Paul Simon and Bono. Caroline Kennedy spoke at the ceremony. Bob Dylan sent his regards. Keith Richards sat in the front row. Chuck, alleging deafness in one ear, couldn’t hear the remarks of presenter Paul Simon (Chuck called him “the announcer”) and told him so. Afterwards, in lieu of an acceptance speech, Chuck grabbed Elvis Costello’s guitar and surprised the organizers with a ragged, solo “Johnny B. Goode.” It was all sweet and spectacular, and well deserved, one of dozens of such honors he has received. So my admiration is understandable. He is a legend among legends— a giant not just of rock and roll, but of American art and culture. 

But my problem is not as simple as admiration. 

I edit myself constantly— even with family— so that I might appear less mentally suspect. One day on Facebook Peter from Sweden posts an old magazine spread showing the young Chuck Berry and his family posing in front of a 1950s style hi-fi. Berry’s son, Charles, posts a comment. “They still have that Silvertone console!” he writes. I’m thrilled by this potent bit of trivia. I react like an old CIA analyst to some tidbit from the Kremlin. “They” means that “they”— Chuck Berry and Themetta, his wife of more than 60 years— are still a couple who jointly own furniture and appliances. Their child perceives them as “they.” I like that. I am happy because— forgive me— in some more theoretical and perhaps less strictly factual sense, I, too, am his child, right? Glad to know dad and mom are together! I am equally moved by the fact that “they” still have that Silvertone! I’ve got my camera and drums from 1971, and the guitar I bought in 1975, and a scrap of metal that I picked up on Greenback Lane when I was 15. I keep things, and so, I learn, does Chuck! I’ve learned online that in addition to the 1950s hi-fi, he has his 1980 Caddy, his psychedelic sport coat, various guitars and the dates of all his concert appearances! I know from the movies that he has kept his old, disintegrating bus, charred scraps of personal history, and that in 1986 he had at least three well-preserved, tarpaulin covered 1970s Cadillacs in storage. He keeps what is important. I want to tell Rebecca about the hi-fi— but I don’t. Later I want to tell her again, but I don’t again. My self control is the product of fear. I imagine calling her, explaining the magazine spread, and then telling her that my internet friend Charles, whom I don’t really know, has said thus and such about an old hi-fi. She would feign interest through glazed eyes. She would think to herself “Who is this man that I married and who fathered my child?” I remain silent, but look again the next day, and smile.

A day or two after my “eureka” moment I do some internet research on imaginary friendship and discover a professor of psychology who studies the subject in a serious way. "I'm beginning to think it never goes away," she tells the Seattle Post Intelligencer. "It morphs into a different form." She and her colleagues interviewed 50 novelists about their characters and found that the characters took “a life of their own.”

That’s not exactly how it is with me. After all, my imaginary friend already has a life of his own. But it’s close. She found that “many of these authors developed personal relationships with the characters in their novels and had imagined conversations with them.” 

I don’t have very many imagined conversations with Chuck Berry, although it does happen. It’s difficult to manage in a convincing way. To make it work I have to invent situations that put me in a position to actually talk to the man. That’s harder than it sounds. Just try. To up the level of difficulty try to figure out a reason why Chuck Berry might want to talk back, once you’ve put yourself in a position to utter inanities. (I eventually solved these problems. It took inspiration, and a measure of luck. Remind me to tell you about it.) 

And to be honest, I’ve never been sure that I want to get to know the real Chuck Berry. He’s rumored to be difficult, to have quirks, to be short at times. If he were nasty to me it might compound my neuroses. There’s a YouTube video in which former Rolling Stones bassist Bill Wyman says that he loved Chuck Berry until he met him. (I’m sure I don’t want to meet Bill Wyman.) Unlike Wyman’s, my encounters with the real Chuck Berry, though brief and reasonably shallow, have been wonderful. He has been attentive and kind. But who knows? Really getting to know the man might spoil it for me. 

But there’s no doubt that I’ve constructed an ongoing “personal” relationship with him—or with an imagined facsimile. Indeed, everyone who really knows me has to live with Chuck Berry to some degree. They do draw lines. “I’m tired of your stupid Chuck Berry!” Gemma has told me more than once. Rebecca refused for nearly a decade to watch “the Chuck Berry movie.” Others, like Jade, just nod and wait for me to stop. But they can’t avoid him entirely. My stories keep coming. I keep plucking the same notes on the guitar. I keep writing my blog and watching YouTube clips.

Of course, people who are not like family simply don’t know. I don’t tell them. At best, cornered by circumstance, I might admit that “I’m a big Chuck Berry fan,” as if that explained it.

But it doesn’t.  Being a “big Chuck Berry fan” doesn’t explain the dreams.

I dream about him regularly. In one recent dream I drove him around in my car. He was old, quiet, and a little sad, and wore his captain’s hat. He looked straight ahead through dark glasses. We parked and I told two women in a ticket booth that Chuck Berry was in my car. They were reasonably excited. He got out of the car to sit by himself on a bench near dark water. He returned to my car and was just about to answer my question about his version of the blues “turnaround” when Rafferty jumped into the bed and woke me. I narrowly avoided telling him that he’d interrupted an important conversation with Chuck Berry.

In another dream I watched from a balcony as members of my extended family came off the golf course with Chuck Berry. I remember my sister-in-law Liz, my brother Paul, and my sisters Ann and Maggie, all happy. Chuck, though, must have had a bad round. He was scowling from under one of those stupid golfer caps with a tuft of yarn on top as he pushed open the door of the men’s locker room and disappeared. (I felt left out up there on the balcony, though happy that my brothers and sisters were getting along so well with “dad.”) Oddly, this was not my only reverie about Chuck Berry as athlete. In 1977 or 1978, soon after I moved to Seattle and my brother Paul introduced me to the NBA, I dreamed that Chuck Berry had been an early professional basketball player. In my dream I watched grainy, black and white dream footage of the journeyman Berry executing a layup. “I never knew that about him!” I dreamt.

After looking at some of her research I find the psychology professor’s university e-mail address, send her a detailed outline of my psychosis, and ask if I am on the right track with the diagnosis of “imaginary friend.” She doesn’t respond, but later I find a description of a talk she gave where someone wrote that she was “exploring whether there is a similar kind of imaginary companionship at work in teenagers who idolize a movie or music star and imagine conversations with that person.” 

I take that as a yes. 


(This is part of a 33 chapter book on Chuck Berry.  It's free!  You can continue reading HERE!)



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