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Chuck Berry 1964

The European tours 1964

From: Chuck Berry - The autobiography

Harmony Books (1987)

by Chuck Berry

In may, 1964, the Chicago federal parole officer granted me my first travel across the atlantic, to England, to fulfill a tour for Don Arden Limited. The English tour had mostly bus and trains for transportion. A second European tour came for me in november '64 that paid much more than the first. They sent two round-trip tickets with the engagement deposit but Toddy objected to leaving our three-year-old son, Charles Jr, under the care of anyone else. So I took the secretary, Francine Gillium, along.

A teenage boy run up to me as I was entering the Grand Hotel in Paris. The boy asked not my name but pronounced it, and requested an autograph. He intruduced himself as Jean Pierre Ravelli and began telling me every recording, by title, of every single and/or album I had ever made. He was a Frenchman, but his English was clearly understandable.

Jean went to every concert I performed on that tour, confirming to me that our frendchip was one that would live on. He swore, while he saw me at the Music hall in Paris, november 11, then all the way to Orly Airport, that this was only the first of many live visits that would never come to soon end.


Chuck Berry delighted fans with rock and blues

unknown english paper

November 1964

Chuck Berry, king of Rhythm & Blues and the man responsible for the modern british beat scene opened his second British tour Lewisham on friday with a programme of his past hits and the new one, "Promised Land", now at 44 in the pop 50. Chuck featured a lot of guitar playing and sounded a bit tired on numbers like "Memphis Tennessee", which he must played a thusand times before.

But although he lost interest in "Memphis", his playing on a slow blues was excellent, and he delighted fans with rockers like "No Particular Place To Go", "Nadine", "Let It Rock", "Sweet Little Sixteen" and "Johnny B. Goode".

The Five Dimensions were a solid backing group but got a bit lost on some of the breaks, as there were handicapped by practically no rehearsal.

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