Flickr Download DeviantArt
This album was released in 1982 but the songs are actually from the 50's and 60's. The original album
cover art, indeed, doesn't look like it was created in the 80's, even with its Harlow-like typeface
(1930's) for the album title and block-type lettering for the name of the artist. The colours are basic;
all three primary colours, and the photo, a posterized black-and-white.
The pose, of course, is classic Berry.
It's a coffee-inspired tweak I did and one that I would love to see
hanging on the wall of my favourite coffee shop while I sip a cup of
the brew that I'm all too familiar with soft music to go.
No sweeteners required. This time, just Berry.
No. 21, Rolling Stone, The 500 Greatest Albums of All Time; No. 51, Entertainment Weekly, 100 Greatest Albums Ever
Cover art design by Mike Metz. Album produced by Leonard Chess & Phil Chess. Chess 1982.
This is the place to start listening to Chuck Berry. The Great Twenty-Eight was a two-LP, single CD compilation that
emerged during the early '80s. It has proved to be one of the most enduring of all compilations of Berry's work. Up
until the release of this disc, every attempt at a compilation had either been too sketchy (the 1964 Greatest Hits
album on Chess) or too demanding for the casual listener (the three Golden Decade double-LP sets), and this was the
first set to find a happy medium between convenience and thoroughness.
album on Chess) or too demanding for the casual listener (the three Golden Decade double-LP sets), and this was the
first set to find a happy medium between convenience and thoroughness.
Veteran listeners will love this CD even if they learn little from it, while neophytes will want to play it to death. All
of the cuts come from Berry's first nine years in music, including all of the major singles as well as relatively minor
hits such as "Come On" (which was more significant in the history of rock & roll in its cover version performed by the
Rolling Stones as their debut release). The sound is decent throughout (surprisingly, except for "Come On," which has
some considerable noise), although it is considerably outclassed by the most recent round of remasterings. In the
decades since its release, there have been more comprehensive collections of Berry's work, but this is the best single
disc, if one can overlook the relatively lo-fi digital sound. Bruce Eder for AllMusic
of the cuts come from Berry's first nine years in music, including all of the major singles as well as relatively minor
hits such as "Come On" (which was more significant in the history of rock & roll in its cover version performed by the
Rolling Stones as their debut release). The sound is decent throughout (surprisingly, except for "Come On," which has
some considerable noise), although it is considerably outclassed by the most recent round of remasterings. In the
decades since its release, there have been more comprehensive collections of Berry's work, but this is the best single
disc, if one can overlook the relatively lo-fi digital sound. Bruce Eder for AllMusic
(A) Maybellene - Thirty Days - You Can't Catch Me - Too Much Monkey Business - Browned-Eyed Handsome Man - Roll Over Beethoven - Havana Moon
(B) School Days - Rock and Roll Music - Oh Baby Doll - Reelin' and Rockin' - Sweet Little Sixteen - Johnny B. Goode - Around and Around
(C) Carol - Beautiful Delilah - Memphis - Sweet Little Rock and Roller - Little Queenie - Almost Grown - Back in the USA
(D) Let It Rock - Bye Bye Johnny - I'm Talking About You - Come On - Nadine - No Particular Place to Go - I Want to be Your Driver
"Johnny B. Goode" live with Bruce Springsteen from Johnny B. Goode on YouTube
