Chuck Berry Legacy: The Untold Story of Johnnie Johnson

Following the passing of Chuck Berry, commentators swiftly moved to cement his title as the undisputed “Father of Rock and Roll,” recognizing him as the genre’s cornerstone and innovator. His songs were lauded not only for their wit, influence, and danceability but often presented as the singular creations of Berry Chuck Berry himself.

While most tributes focus on his solo genius, a few briefly mention a lawsuit involving Berry’s longtime piano player, Johnnie Johnson. Johnson claimed co-authorship on many iconic tracks, but the case was dismissed due to the statute of limitations – he waited too long to sue. However, this dismissal often overshadows the substance of the claim and the evidence unearthed. This article delves deeper into that overlooked chapter, exploring sworn testimonies that complicate the simple narrative of Berry’s sole authorship, drawing from case files previously unavailable for public study. Given Berry’s known reluctance to discuss his creative methods, the Johnson v. Berry case provides a rare window into the potential collaborative origins of songs that changed music forever, seeking truth amidst the legend.

The Lawsuit That Challenged Rock History

Two years before a pivotal deposition in 2002, Johnnie Johnson initiated legal action against Chuck Berry. Johnson’s lawsuit asserted that he had co-written, using his piano, a significant number of Berry’s legendary hits from the 1950s and ’60s. This catalogue included timeless classics like “Roll Over Beethoven,” “Back in the U.S.A.,” and “Nadine” – songs instrumental in sparking a global musical and cultural revolution.

Pianist Johnnie Johnson, who claimed co-authorship on Berry Chuck Berry hits, photographed in 1997.

Johnson contended that despite his crucial contributions, he received neither official credit nor any share of the substantial royalties generated by these songs over the decades. Nearly half a century after their creation, he turned to the courts in an attempt to rectify the historical record and claim his share.

Chuck Berry Under Oath: A Surprising Testimony

The legal proceedings culminated on August 21, 2002, in a St. Louis law firm’s conference room. During his deposition, Chuck Berry was confronted with the central question of the lawsuit, directly challenging his legacy. Johnson’s attorney asked:

“Do you believe as you sit here today, that Johnnie Johnson had any, played any part in creating the songs that we’ve said he did?”

A simple “No” would have been the expected, legally advantageous response. Instead, Berry offered a notably ambiguous answer:

“In a roundabout sense, I suppose he did. I don’t know, but I suppose he did; but in a legal sense, no, because I consider myself having written any songs that is out now with Chuck Berry on it, because that’s the way it went, I composed it and I did it.”

This statement, acknowledging Johnson’s contribution “in a roundabout sense” while denying it “in a legal sense,” provided significant potential leverage for Johnson’s case. However, a jury never heard this testimony. On October 21, 2002, merely two weeks before the scheduled trial, the judge dismissed the lawsuit, ruling that the statute of limitations had expired. Johnson had waited too long to file his claim. While legally conclusive, the dismissal didn’t erase the questions raised by Berry’s own words.

Beyond the Lawsuit: Voices on Collaboration

The depositions of both Berry and Johnson, taken months apart, offered unprecedented insight into their working relationship. Both musicians spoke more freely about their creative dynamic than ever before or since.

Johnson described their interaction:

“[T]hat’s the way our teamwork came in together, whoever come up with the idea, it was tried by the both, he would try it, my piano part, which mostly I would do, I would try his guitar part, and together we collaborated on it…and [would] find out which part worked the best, and that’s the one that would be used.”

Berry, similarly, described their musical interplay:

“[T]here was a harmonious understanding after a few recordings, that when I stop singing, Johnnie played this riff, or that riff, or that riff…he played it and played the da-da-da-da riff, I could implicate the rhythm and he would remember the thing that I liked so much, and the same thing would happen, turned around, when I would play the riff, that I’d ask him to play a certain thing, seemed like to me, he would just fall in….”

During their depositions, both men even played their instruments – Johnson on piano, Berry on guitar and piano – demonstrating their collaborative process.

Undated photo of Johnnie Johnson (left) and rock legend Berry Chuck Berry, highlighting their long musical partnership.

While neither wavered on their legal positions regarding authorship, their testimonies revealed a candid picture of mutual musical influence and shared creation. Determining the precise point where creative contribution becomes legal co-authorship is complex, but their own accounts strongly suggest a partnership fueled their legendary output.

Reconsidering the ‘Sole Genius’ Myth

The dominant narrative portrays Chuck Berry as the self-sufficient architect of his rock and roll masterpieces. Conversely, some view Johnnie Johnson as the overlooked musical force who transformed Berry’s lyrics into timeless songs. However, the sworn statements from both men suggest a more nuanced reality: a powerful collaboration, an unspoken musical bond that was fundamental to the creation of these influential classics.

Society often elevates the myth of the lone genius. Recognizing collaboration, whether with contemporaries or past influences, might seem less compelling, yet it’s a frequent pathway to groundbreaking work. From the songwriting partnerships of Leiber and Stoller or Holland-Dozier-Holland to acclaimed films like “Casablanca” and the refined writings of Raymond Carver, collaborative creativity has yielded countless cultural treasures, often unacknowledged. Perhaps even a singular genius like Chuck Berry found a partner in Johnnie Johnson who helped him achieve heights he might not have reached alone. Acknowledging this possibility doesn’t diminish Berry’s immense legacy; it arguably honors it more truthfully.

Conclusion

The legal outcome of Johnson v. Berry closed the door on Johnnie Johnson’s claims for royalties and credit due to timing. However, the deposition testimonies unearthed during the case provide invaluable, firsthand accounts suggesting a significant collaborative element in the creation of Chuck Berry’s most iconic songs. Both Berry’s and Johnson’s words paint a picture of teamwork and mutual musical understanding that challenges the enduring myth of the solitary genius.

Near the end of the documentary “Hail! Hail! Rock ‘n’ Roll,” Chuck Berry expressed his hope for how he would be remembered: “Whatever it be, I just hope it’s real and it’s a fact, which will be the truth… I hope they’ll just speak the truth be it pro, con, bad, good.” Exploring the full story, including the potential contributions of collaborators like Johnnie Johnson, moves us closer to that truth, offering a richer, more complete understanding of the Berry Chuck Berry legacy and the birth of rock and roll.