In 1966, guitarist and singer Chuck Berry left Chess Records to join Mercury Records. The first thing he recorded was an album of re-recordings of some of his greatest hits. Following this easy way to capitalise on past glories, Berry recorded an album of new material that marginally deviated from his established sound.
First released in April 1967, Chuck Berry in Memphis is exactly that. The sound differs from previous albums in that it emphasises horns, played by members of the Memphis Horns. The difference in sound is first presented in the opening track, Back in Memphis, which mixes Chuck’s distinctive guitar tone, his storyteller chops and a smattering of brass.
The album contains two re-recordings of earlier compositions, “Sweet Little Rock and Roller” and “Oh Baby Doll”. They’re not complete reinventions but have enough variation from the first time they were recorded. They almost sound like leftovers from the previous album that have had minor overdubs to fit. Elsewhere, Chuck’s take on “Bring Another Drink” is a pleasant reading that uses the album concept effectively. It features laidback piano, horns and drums, punctuated by a signature Chuck Berry guitar solo.
The production of this Memphis album won’t be to everyone’s taste, some preferring the stripped-down earlier efforts that emphasised Chuck’s guitar playing. His signature style is still evident in places, such as “Check Me Out”, but the moments where he lets the production wash over the song are an unexpected joy. It helps to showcase Chuck’s vocal style on the slower numbers, which has a pleasing level of intimacy.
For someone known for rocking uptempo numbers, Chuck sure does pack a punch when it comes to subtlety; his vocals are perfectly gentle without pretence. Those who know what Chuck was capable of on ballads will love numbers like “So Long”, “I Do Really Love You”, “It Hurts Me Too,” and “My Heart Will Always Belong to You”.
The album ends on “Goodnight Well It’s Time to Go”, a reinvention of Carter and Hudson’s “Goodnite, Sweetheart, Goodnite”. As usual, Chuck doesn’t simply cover a known song, he reinvents it to suit his strengths. Beautifully rendered in a silky, slow tempo, with more romance than you might expect from this artist.
Conclusion
Overall, this is an underrated album from the guitarist. While it feels at times as though Berry’s unique guitar sound is competing with the power of the horns, it is mostly a pleasing sound that works surprisingly well.
For once, the uptempo numbers are not the star of the show here. When Berry mellows out, let’s the production do the talking, and his voice do the singing, it is sublime.
The negative point to this album is probably the unnecessary re-recordings of his own material. They were likely a requirement that also showed his songs in a new light. They lack the reinvention of his cover versions, such as Ramblin’ Rose, that occasionally sound like they may have originated from Berry’s pen.
Lots of artists did “In Memphis” albums after this one, which are much more famous. I would guess that in the mystique of Johnny B Goode, School Days and countless other hits, Berry’s attempt at applying Memphis to his sound has fallen by the wayside. This is an album that strangely still stands up and showcases a side of Chuck that only the fans know. Well worth checking out. Chuck Berry in Memphis is available as part of a multi-set from BGO Records.
Tracklisting:
- Back To Memphis
- I Do Really Love You
- Ramblin’ Rose
- Sweet Little Rock And Roller
- My Heart Will Always Belong To You
- Oh Baby Doll
- Check Me Out
- It Hurts Me Too
- Bring Another Drink
- So Long
- Goodnight Well It’s Time To Go
