Hubbry Logo
MaybelleneMaybelleneMain
Open search
Maybellene
Community hub
Maybellene
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Maybellene
Maybellene
Maybellene
View on Wikipedia
from Wikipedia

"Maybellene"
Single by Chuck Berry
B-side"Wee Wee Hours"
ReleasedJuly 1955 (1955-07)
RecordedMay 21, 1955
StudioUniversal Recording (Chicago)[1]
Genre
Length2:19
LabelChess[4]
SongwriterChuck Berry[5]
ProducersLeonard Chess, Phil Chess
Chuck Berry singles chronology
"I Hope These Words Will Find You Well"
(1954) 		"Maybellene"
(1955) 		"Thirty Days"
(1955)
Audio sample
30-second sample of Chuck Berry's "Maybellene"

"Maybellene" is a rock and roll song by American artist Chuck Berry, adapted in part from the western swing fiddle tune "Ida Red". Released in 1955, Berry’s song tells the story of a hot rod race and a broken romance, the lyrics describing a man driving a V8 Ford and chasing his unfaithful girlfriend in her Cadillac Coupe DeVille. It was released in July 1955 as a single by Chess Records, of Chicago, Illinois.[6] Berry's first hit, "Maybellene" is considered a pioneering rock and roll song. Rolling Stone magazine wrote of it, "Rock & roll guitar starts here."[7] The record was an early instance of the complete rock and roll package: youthful subject matter; a small, guitar-driven combo; clear diction; and an atmosphere of unrelenting excitement.

The song was a major hit with both black and white audiences, reaching number 1 on Billboard's Rhythm and Blues chart and number 5 on the Popular Records chart.[8] It has received numerous honors and awards. Soon after its initial release, cover versions were recorded by several other artists. The title is misspelled "Maybelline" on several releases.

Origins and writing

[edit]

"Maybellene" adapted parts of the Western Swing song "Ida Red", as recorded by Bob Wills and his Texas Playboys in 1938.[9][10] According to Berry, Wills's version, an uptempo dance number, was his favorite song to sing at racially integrated clubs ("salt and pepper clubs", as he called them). Encouraged by Muddy Waters, in 1955 Berry brought to Chess Records a recording of Wills's song,[4] renamed "Ida May" and a blues song he wrote, "Wee Wee Hours", which he said was inspired by Big Joe Turner's "Wee Baby Blue".[11] To Berry's surprise, Leonard Chess showed little interest in the blues material but was enthusiastic about the commercial possibilities in a "hillbilly song sung by a black man".[11] Maybellene is notably similar to the song "Gotta Gimme Whatcha Got" (number 3 R&B in 1946), written by Julia Lee (musician), blues and dirty blues singer, along with drummer Samuel "Baby" Lovett in mid 1946.

Chess wanted a bigger beat for the song and added a bass and a maracas player to Berry's trio at the recording session. He also thought the titles "Ida Red" and "Ida May" were "too rural".[11] Spotting a mascara box on the floor of the studio, according to Berry's pianist Johnnie Johnson, Chess said, "Well, hell, let's name the damn thing Maybellene", altering the spelling to avoid a suit by the cosmetic company (the song would be covered as "Maybelline" almost as often as with the altered spelling).[12] The lyrics were rewritten, also at the direction of Chess. "The kids wanted the big beat, cars and young love," Chess recalled. "It was the trend and we jumped on it."[11] According to Berry he abridged the song's lyrics (Chuck Berry quote:) "from memories of high school and trying to get girls to ride in my 1934 V-8 Ford", adding that "Maybellene" was his own choice as "Ida May"'s replacement title, Maybellene being a name he recalled from a third-grade reader in which it was the name of a cow.[13]

As Chess had predicted, the lyrics appealed to teenagers fascinated by cars, speed and sexuality. "Maybellene" was one of the first records to be a hit on the rhythm and blues, country and western, and pop charts. Featuring some inimitable Berry riffs, some blues-style picking on a guitar and Johnson's piano, which added a hummable rhythm to the steady backbeat, "Maybellene" was a pivotal song in the emergence of rock and roll. This exciting fusion of a rhythm-and-blues beat with a rural country style was the catalyst for the emergence of rock and roll in the mid-1950s.[14]

When Berry first saw a copy of the record, he was surprised that two other individuals, including DJ Alan Freed, had been given writing credit; that would entitle them to some of the royalties. After a court battle, Berry was able to regain full writing credit.[15][16]

Personnel

[edit]

Co-composers

[edit]

In the 1950s, some record companies assigned publishing credits to disc jockeys and others who helped to promote a record, a form of payola by means of composer royalties. For this reason, the disc jockey Alan Freed received credit as a co-writer of "Maybellene". Robert Christgau's October 1972 essay on Berry suggests this was the case for Freed's publishing credit. Leonard Chess, in Christgau's words, "flipped" for Berry's "Maybellene" and "forwarded it to Alan Freed". "Having mysteriously acquired 25 percent of the writer's credit," Christgau writes, "Freed played 'Maybellene' quite a lot, and it became one of the first nationwide rock and roll hits."[17]

Russ Fratto, who had loaned money to Chess, also received credit.[18] (Some Chess insiders have said that Chess owed money to Fratto, a printer and stationer, for producing record labels. Other accounts describe Fratto as "a record distributor".) The Freed and Fratto credits, which do not appear on the original Chess single (see the photograph above), were withdrawn in 1986.[19] However, as of 2014, these credits still appear on some reissues of Berry's recordings.

The first edition of Charlie Gillett's The Sound of the City: The Rise of Rock and Roll in 1970 erroneously identifies Fratto as a disc jockey and suggests that both Freed and Fratto were present at the recording session in Chicago in May 1955.[20]

Bruce Pegg's Brown Eyed Handsome Man on the life and recording career of Berry identifies Fratto as the owner of Victory Stationery, a print shop next door to 4750 South Cottage Grove, the location of the first offices of Chess Records. Pegg identifies Victory Stationery's owner Fratto as "4750's landlord."[21]

In an interview with Patrick William Salvo for Rolling Stone published in November 1972, Berry told Salvo that Freed "didn't sit down with me at all and write anything." "He [Freed] got that money solely for doing us some favors in those days," Berry told Salvo.[22]

Charts

[edit]

In 1955, the song peaked at number five on the Billboard pop chart and was number one on the R&B chart.[23] Billboard's year-end charts in 1955 ranked "Maybellene" number 3 on the Top R&B Records Retail Sales and Juke Box Plays charts.[24]

The record sold one million copies by the end of 1955.[25]

Honors and awards

[edit]

According to the Acoustic Music organization, "the song ushers in descending pentatonic double-stops, which becomes the essence of rock guitar".[8]

In 1988, "Maybellene" was inducted into the Grammy Hall of Fame for its influence as a rock-and-roll record.[26] The Rock and Roll Hall of Fame included "Maybellene" in its list of the "500 Songs That Shaped Rock and Roll" (also included are Berry's recordings of "Rock and Roll Music" and "Johnny B. Goode").[27] In 1999, National Public Radio included it in the "NPR 100", the one hundred most important American musical works of the 20th century, chosen by NPR music editors.[28] The song is ranked number 18 on Rolling Stone's list of 500 Greatest Songs of All Time.[29]

Cover versions

[edit]
"Maybelline"
Single by Johnny Rivers
from the album Here We Go Again!
B-side"Walk Myself on Home"
ReleasedAugust 1964
Recorded1964
GenreRock and roll
Length2:10
LabelImperial Records
SongwritersChuck Berry, Russ Fratto, Alan Freed[30]
ProducerLou Adler
Johnny Rivers singles chronology
"Baby Come Back"
(1964) 		"Maybelline"
(1964) 		"Mountain of Love"
(1964)

Columbia Records released a version by Marty Robbins (21351), entitled "Maybelline", by the end of August 1955.[31] His version was the number 13 "Most Played by Jockeys" in the country-and-western market by mid-October.[32] and soon Columbia was touting it as one of its "Best Selling Folk Records".[33] By November, it was noted that the record had "won considerable pop play".[34] Other versions available in mid-October 1955 were by J. Long (Coral 61478), J. Lowe (Dot 15407), and R. Marterie (Mercury 70682) with the song listed as number 14 top selling in the nation.[35]

Allmusic lists cover versions by more than 70 performers, including Elvis Presley, the Everly Brothers (as "Maybelline"), John Hammond, Simon & Garfunkel (in a medley with "Kodachrome"), George Jones and Johnny Paycheck, Carl Perkins (as "Maybelline"), Johnny Cash, Bubba Sparks, Foghat (as "Maybelline"), The Dovells, Gerry and the Pacemakers, Chubby Checker and Ted Nugent (as "Maybelline").[36]

In 1964, a cover version by Johnny Rivers, entitled "Maybelline", reached number 12 on the Billboard Hot 100[37] and number 9 on RPM magazine's Top 40 Singles chart.[38]

Also in 1964, The Syndicats featuring guitarist Steve Howe, who would later play for the band Yes, recorded and published their own cover version of the song.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Maybellene

View on Grokipedia
from Grokipedia
"Maybellene" is a seminal written and performed by American musician , released as a single by in July 1955. Adapted from the traditional folk tune "" (also known as "Ida Mae"), the 's lyrics depict a high-speed in which the narrator pursues his unfaithful Maybellene, who is driving a Coupe de Ville while he follows in a V8 Ford. The title was inspired by a tube of spotted in the recording studio, chosen to avoid potential copyright issues with the original name. Recorded in after Berry was introduced to by blues legend , "Maybellene" took 36 takes to complete, featuring Berry on (using a Gibson ES-350T), Johnnie Johnson on piano, and Ebby Hardy on drums. It marked Berry's breakthrough as a performer, blending elements of , , and to create an energetic, guitar-driven sound that appealed to teenage audiences through its themes of romance, betrayal, and automobile culture. The single quickly climbed the charts, reaching number one on the R&B chart and number five on the Hot 100. This made Berry one of the first Black rock and roll artists to achieve national crossover success. The song's cultural impact was profound, helping to define the early rock and roll genre and influencing subsequent artists such as Elvis Presley, The Beatles, and The Rolling Stones, all of whom covered it. Initially, songwriting credits were shared with disc jockey Alan Freed and promoter Russ Fratto due to payola arrangements to secure radio play, but Berry regained sole credit in 1986 following a legal settlement. Ranked number 102 on Rolling Stone magazine's 2021 list of the 500 Greatest Songs of All Time, "Maybellene" remains a cornerstone of American popular music, celebrated for its innovative guitar riff and vivid storytelling; in 2025, Valerie June released a reimagined version as part of a tribute album for Berry's upcoming centennial.

Background

Origins

"Maybellene" originated as an adaptation of the 1930s fiddle tune "," which was popularized by and His Texas Playboys in their 1938 recording. Originally an instrumental number with roots in a Victorian , Berry transformed it into a vocal narrative by reworking the melody and adding original lyrics centered on a high-speed pursuit. This shift from a hillbilly two-step to an energetic rock track was achieved through collaboration with pianist Johnnie Johnson, who rearranged the music while Berry crafted the words. Chuck Berry's early career in the area during the early 1950s provided the fertile ground for this fusion, as he performed in local clubs blending , , and styles. After serving time in and working various jobs, Berry joined the Sir John's Trio in 1952, later renaming it the Chuck Berry Trio, and played at venues like the Cosmopolitan Club in East for mixed audiences. His sets incorporated influences from artists like alongside elements from performers such as and , reflecting his broad musical palette and appeal to both Black and white listeners. This cross-genre experimentation directly informed the hybrid sound of "Maybellene." The song's thematic core drew from 1950s American teenage romance and burgeoning car culture, capturing the era's fascination with speed, freedom, and youthful rebellion. infused the with a dramatic chase involving a V-8 Ford pursuing a Coupe de Ville, elements inspired by his own affinity for automobiles, including his first car—a 1934 V-8 Ford. This personal touch amplified the song's resonance with adolescents obsessed with hot rods and , transforming a simple tale into a vivid of pursuit and desire.

Composition and Lyrics

"Maybellene" is a 2:18 track structured in AABA form, played in the key of with a driving rhythm at approximately 118 beats per minute that fuses guitar riffs with twang elements. The song's energetic pulse, driven by Berry's Gibson ES-350T guitar, creates a propulsive feel that underscores the narrative urgency, blending the raw edge of with the twangy guitar lines reminiscent of influences. The lyrics center on themes of youthful , romance, and , framed as a high-speed where the narrator pursues his unfaithful lover, Maybellene, in his V-8 Ford while she drives a Coupe de Ville. The opening chorus sets the tone with the repeated plea, "Maybellene, why can't you be true? / Oh, Maybellene, why can't you be true? / You've started back doin' those things you used to do," highlighting the pain of and the thrill of the pursuit. Subsequent verses escalate the action, describing the race through rural landscapes—"As I was motivatin' over the hill / I saw Maybellene in a Coupe de Ville"—symbolizing the era's teenage fascination with automobiles as metaphors for freedom and heartbreak, culminating in the narrator gaining ground but ultimately losing Maybellene to her faster car. Berry's writing process for "Maybellene" involved rewriting an original instrumental adaptation of the folk tune "Ida Red" in 1955, incorporating narrative lyrics at the suggestion of Chess Records co-founder Leonard Chess to broaden its appeal to white teenage audiences. Chess urged Berry to replace the working title "Ida Mae" with "Maybellene," inspired by a cosmetics brand, and to infuse the song with car-chasing imagery drawn from Berry's observations of hot rod culture, transforming it from a simple fiddle-derived riff into a vivid story song that captured the spirit of 1950s youth. This revision emphasized clever wordplay, such as "motorvatin'," to blend storytelling with rhythmic drive, marking Berry's early mastery of rock and roll songcraft.

Recording and Production

Session Details

The recording session for "Maybellene" occurred on May 21, 1955, at Universal Recording Studios in Chicago, Illinois. This date marked Chuck Berry's debut recording for Chess Records, following his introduction to the label by Muddy Waters. Leonard and Phil Chess, founders of Chess Records, oversaw production, with sound engineer Bill Putnam handling the technical aspects, emphasizing a straightforward approach to highlight the song's energetic drive. The session employed a minimal instrumentation setup—including electric guitar, double bass, drums, and piano—to achieve the raw, amplified sound characteristic of mid-1950s rock and roll, incorporating boogie rhythms for a lively, unpolished feel. The track required 36 takes to perfect. A small ensemble of musicians contributed to this direct, combo-style arrangement during the session. To complement the upbeat "Maybellene" on the single release, the B-side was paired with "Wee Wee Hours," a slower, introspective track that showcased a contrasting, soulful . This pairing reflected ' strategy of blending high-energy rock elements with traditional roots on early singles.

Personnel

The recording of "Maybellene" on May 21, 1955, at Universal Recording Studios in involved a core group of musicians drawn from the local and R&B scene, augmented by label figures for production and percussion. handled lead vocals and guitar, performing on his Gibson ES-350T semi-hollowbody , which he later nicknamed after the song and which became iconic in his performances. A pioneering and , Berry's energetic riffing and narrative delivery defined the track's energy, drawing from his experiences in clubs. Johnnie C. Johnson, a seasoned pianist who had led the Sir John Trio in since the , provided the piano accompaniment, laying down boogie-woogie-style fills that complemented Berry's guitar work; Johnson had recruited Berry into his trio in , forming the basis of their long collaboration. , a prolific , songwriter, and known for his work with Chess artists like , played double bass, delivering a steady walking line that anchored the rhythm section. Ebby Hardy (also spelled Ebbie or Eddie), the drummer from Berry's combo, supplied the propulsive beat on drums, having performed with the group in venues prior to the session. Jerome Green, a percussionist best known as Bo Diddley's maracas player and background vocalist, contributed maracas for rhythmic accentuation, as credited on the original release; his role has been debated, with some accounts suggesting label co-founder may have played the part instead or in addition. , the Polish-born immigrant who co-founded in 1950 with his brother Phil, served as , overseeing the session and providing input on arrangement; his hands-on approach helped shape the label's signature sound for emerging talents.

Release and Commercial Success

Single Release

"Maybellene" was released as a single in July 1955 by under catalog number 1604. The B-side was "Wee Wee Hours". It was issued in both 78 RPM and 45 RPM formats, with the labels featuring a blue background typical of Chess singles from the . The title was occasionally misspelled as "" on several releases, including some labels and later compilations. Chess Records employed a targeted to promote the single, leveraging influential radio disc jockeys such as , who played "Maybellene" extensively on his New York station WINS to help it cross over from audiences to the broader pop market. This promotion was instrumental in building early buzz for the track. By the end of 1955, the single had sold more than one million copies.

Chart Performance

"Maybellene" entered the Billboard charts in August 1955, peaking at number 5 on the Best Sellers in Stores pop chart while simultaneously topping the R&B chart for 11 weeks. This dual success highlighted its crossover appeal, bridging R&B and pop audiences during the early rock and roll era. The single's strong performance translated to substantial sales, with over one million copies sold by the end of 1955, representing a major breakthrough for Chess Records and solidifying Berry's emergence as a star. It ranked number 3 on Billboard's year-end Top R&B Records (Juke Box Plays) chart for 1955, underscoring its enduring popularity that year. Although the song's initial impact was primarily domestic, later reissues in subsequent decades increased its international visibility, introducing Berry's sound to broader global audiences.

Reception and Legacy

Critical Reception

Upon its release in 1955, "Maybellene" received positive reviews from contemporary music publications, with praising its energetic guitar work and rhythmic drive as "ace showmanship" delivered with "expressive good humor," highlighting the track's catchy rhythm and solid beat that made it suitable for jukeboxes and radio play. The song was also noted for its crossover appeal, blurring the lines between and pop charts by achieving strong performance on both R&B and mainstream listings. Early critiques occasionally dismissed "Maybellene" as a novelty due to its theme, characterizing it as an amusing but lightweight tale of romantic pursuit on the open road. However, this hillbilly-influenced narrative—adapted from traditional tunes like ' ""—was later recognized for its innovative storytelling, which infused R&B with vivid, cinematic energy and helped pioneer the genre-blending style central to . In retrospective assessments, "Maybellene" has been hailed as a foundational prototype for , celebrated for its fusion of , , and pop elements through Berry's dynamic guitar riffs and narrative lyrics. It ranked #18 on Rolling Stone's update of the 500 Greatest Songs of All Time, underscoring its enduring impact as an electrifying debut that defined the genre's youthful exuberance and rhythmic propulsion.

Honors and Awards

"Maybellene" received significant recognition for its pioneering role in music. In 1988, the song was inducted into the by , honoring recordings of lasting qualitative or historical significance that are at least 25 years old. The track was also included in the Hall of Fame's list of the "500 Songs that Shaped ," originally compiled in to highlight influential works in the genre's development. Additionally, in 2000, National Public Radio (NPR) selected "Maybellene" as one of the "100 Most Important American Musical Works of the 20th Century," recognizing its cultural and musical impact through expert curation and listener input. As of , no major new honors have been awarded to the song, yet its inclusion in these foundational lists underscores its enduring status among genre-defining compilations.

Cultural Impact

"Maybellene" is widely recognized as one of the pioneering singles, blending elements of , , and innovation to define the genre's early sound. Released in 1955, the song popularized guitar-driven narratives through Chuck Berry's distinctive riffing and storytelling style, which emphasized high-energy solos and rhythmic precision that became staples of . Its focus on youthful themes, such as romance and rebellion, resonated with teenagers, helping to establish as a vehicle for expressing adolescent experiences and autonomy. Berry's debut hit laid foundational elements for the genre, influencing countless guitarists and songwriters by demonstrating how could drive pop accessibility while retaining roots. The song's influence extended to major rock acts, with and citing Berry's style as a core inspiration for their early work. and both acknowledged Berry's guitar techniques and lyrical flair in "Maybellene" as pivotal to their development, shaping the British Invasion's sound and attitude. Beyond music, "Maybellene" reflected and amplified American car culture, portraying automobiles as symbols of speed, freedom, and romantic pursuit in its narrative of a high-stakes chase between a V8 Ford and a Cadillac Coupe DeVille. This depiction captured the era's obsession with hot rods and mobility as markers of youth identity and post-war prosperity. As a breakthrough for a artist on a predominantly white pop chart, "Maybellene" facilitated racial crossover in music by topping the R&B charts and reaching number five on the , thus aiding the desegregation of radio airwaves during a time of strict racial divides in . Its success demonstrated how Black-created music could appeal broadly, challenging industry norms and paving the way for greater integration in popular entertainment. In modern culture, the song has appeared in films such as (1982), where it underscores scenes of teenage mischief, and (2008), which dramatizes Berry's recording session and its historical significance. Ahead of 's 100th birth centennial in 2026, 2025 celebrations highlighted the song's enduring appeal, with artist releasing a reimagined version for the Chuck Berry Birthday Bash events in , drawing crowds to honor its role in rock history. On streaming platforms, "Maybellene" has amassed over 42 million plays as of late 2025, reflecting sustained and renewed interest among contemporary listeners post-2020.

Co-composers Controversy

Upon its release in 1955, "Maybellene" was credited to , disc jockey , and Russ Fratto as co-writers, a arrangement allegedly made by to secure promotional favors and airplay through payola payments or equivalent incentives. This practice was emblematic of the broader payola scandals of the 1950s, in which radio DJs like Freed received undisclosed kickbacks—often in the form of cash, gifts, or songwriting credits—for promoting records, particularly those by Black artists seeking crossover success to white audiences. Freed, a pioneering promoter of who coined the term "," was deeply involved in these scandals and faced congressional investigations for his role; Fratto, his business associate and manager, facilitated such deals while also maintaining ties to as the landlord of their offices. Berry later asserted sole authorship of the song, claiming he had adapted the melody from the traditional Western swing fiddle tune "Ida Red"—famously recorded by and His Texas Playboys in —and penned the original lyrics about a high-speed chase involving a V-8 Ford and a girlfriend named Maybellene. In interviews, Berry expressed initial unawareness of the credit-sharing's long-term impact on royalties but maintained that neither Freed nor Fratto contributed creatively, viewing the arrangement as an exploitative industry norm rather than collaborative songwriting. The dispute highlighted systemic inequities in the music business, where emerging Black talents like Berry often ceded portions of their work to white intermediaries for visibility. This controversy was eventually resolved in Berry's favor through legal action in 1986, restoring him as the sole credited composer.

Credit Resolution

In 1986, more than three decades after the release of "Maybellene," was awarded sole songwriting credit for the track, with the names of co-credited individuals and Russ Fratto officially removed from the composition. This resolution stemmed from longstanding recognition that the initial shared credits, which had diluted Berry's royalties, were a product of practices prevalent in the 1950s . The process leading to this correction involved legal action, the outcome of which redirected all future royalties exclusively to and, following his in 2017, to his estate, rectifying decades of divided earnings from one of rock 'n' roll's foundational hits. This settlement not only restored Berry's full authorship recognition but also underscored the music industry's evolving standards for credit integrity, serving as a for addressing historical exploitation of songwriters, particularly artists, in subsequent royalty disputes.

Cover Versions

Notable Covers

One of the earliest notable covers of "Maybellene" was recorded by singer in , shortly after Chuck Berry's original release, adapting the rock and roll track into a bouncy and western style that emphasized and instrumentation for a appeal. Released on as "Maybelline," it peaked at number 9 on the Country chart, showcasing the song's crossover potential beyond audiences. In 1964, delivered a high-energy live rendition titled "Maybelline" on his album Here We a Go Go Again!, infusing the track with a surf rock flair through upbeat , reverb-laden guitar, and a driving that captured the era's . The single reached number 12 on the and number 9 on RPM's Top 40 Singles chart in , marking one of the song's most commercially successful revivals and highlighting its adaptability to pop-rock trends. The Beatles frequently performed "Maybellene" live during their early career in the late and early , incorporating it into setlists at venues like and during their residencies, where they drew heavily from Berry's catalog to energize audiences with fast-paced covers. These performances, often featuring on lead vocals, underscored the song's influence on acts and its role in shaping the band's raw, energetic stage presence before shifting to original material. "Maybellene" has inspired over 130 documented covers across diverse genres, including , folk, and orchestral interpretations, demonstrating its enduring versatility and broad appeal from the onward. Notable adaptations often varied and to suit stylistic preferences, such as accelerating the pace for rockabilly energy or layering strings for more symphonic arrangements in later decades. Recent covers continue this tradition but are explored separately.

Recent Interpretations

In 2025, released a reimagined version of "Maybellene," produced by , to commemorate the song's 70th anniversary and ahead of 's 100th birthday on , 2026. This folk-infused take, featuring June's signature blend of roots and ethereal vocals, serves as the lead single for the forthcoming tribute album Chuck Berry 100: A Tribute Reimagined, scheduled for release in fall 2026 via One Riot Records and KRO Records. June's interpretation updates the classic narrative with a modern, introspective edge, highlighting the song's enduring themes of pursuit and desire while paying homage to Berry's foundational influence on American music. Throughout the 2020s, "Maybellene" has seen renewed attention through social media celebrations and retrospective articles marking key anniversaries. Platforms like and hosted tributes in 2024 and 2025, often sharing clips of live performances or fan discussions tied to Berry's legacy, amplifying the song's cultural resonance among younger audiences. A notable example is Vintage Rock magazine's May 2025 feature, "Story Behind the Song: Chuck Berry's Maybellene," which revisited the track's origins, recording session at Chicago's Universal Recording Studio, and its role in bridging country, R&B, and . Emerging trends in the point to increased streaming covers of "Maybellene" within indie and folk scenes, where artists adapt its high-energy into acoustic or narrative-driven arrangements, underscoring the song's ongoing relevance in contemporary roots music. Valerie June's version exemplifies this shift, contributing to a modest but growing catalog of reinterpretations that explore the track's roots through modern lenses.

References

  1. https://www.npr.org/2000/07/02/1076141/maybellene
  2. https://www.songfacts.com/facts/chuck-berry/maybellene
  3. https://www.rollingstone.com/music/music-lists/best-songs-of-all-time-1224767/
  4. https://www.noise11.com/news/valerie-june-reimagines-chuck-berrys-maybellene-20251018
  5. https://www.the-independent.com/independentpremium/song-maybellene-chuck-berry-b1917145.html
  6. https://blues.org/blues_hof_inductee/chuck-berry/
  7. https://www.biography.com/musicians/chuck-berry
  8. https://www.premierguitar.com/artists/chuck-berry-1926-2017
  9. https://faroutmagazine.co.uk/chuck-berry-maybellene-story-behind-the-song/
  10. https://www.udiscovermusic.com/stories/chuck-berry-no-money-down-song/
  11. https://www.hooktheory.com/theorytab/view/chuck-berry/maybellene
  12. https://tunebat.com/Info/Maybellene-Chuck-Berry/3SQhmctWreNM0X6Zkm2K5R
  13. https://alabamarecordcollectors.org/2020/01/birth-of-rock-roll-music-project-1954-1959-no-23-1955-chuck-berry-maybellene.html
  14. https://www.udiscovermusic.com/stories/chuck-berry-maybellene-song/
  15. https://culture.pl/en/article/chess-records-how-two-polish-brothers-made-music-history
  16. http://www.crlf.de/ChuckBerry/cbdb/song/135-MAYBELLENE.html
  17. https://www.discogs.com/release/1952231-Chuck-Berry-And-His-Combo-Maybellene-Wee-Wee-Hours
  18. https://www.history-of-rock.com/chess_records.htm
  19. https://nmaahc.si.edu/object/nmaahc_2011.137.2
  20. https://www.smithsonianmag.com/smithsonian-institution/how-chuck-berrys-cadillac-and-his-guitar-maybelline-came-smithsonian-180962638/
  21. https://www.npr.org/2005/04/15/4602015/pianist-johnnie-johnson-left-rocking-legacy
  22. https://www.crlf.de/ChuckBerry/cbdb/session/66-1955-05-21%2000:00:00.html
  23. https://adp.library.ucsb.edu/index.php/talent/detail/208784/Jerome_Green
  24. https://www.discogs.com/master/193180-Chuck-Berry-And-His-Combo-Maybellene-Wee-Wee-Hours
  25. https://www.discogs.com/release/5109710-Chuck-Berry-And-His-Combo-Maybellene-Wee-Wee-Hours
  26. https://www.45cat.com/record/1604us
  27. https://www.the-paulmccartney-project.com/song/maybellene/
  28. https://mississippitoday.org/2024/10/18/1926-chuck-berry-born/
  29. https://www.allmusic.com/song/maybellene-mt0000581670
  30. https://djrobblog.com/archives/4386
  31. https://www.officialcharts.com/artist/4786/chuck-berry/
  32. https://www.billboard.com/pro/chuck-berry-rock-roll-singles-billboard-charts/
  33. https://whynow.co.uk/read/the-genius-of-chuck-berrys-first-hit-maybellene
  34. https://www.grammy.com/awards/hall-of-fame-award
  35. https://www.infoplease.com/culture-entertainment/music/500-songs-shaped-rock
  36. https://www.latimes.com/archives/la-xpm-2000-jan-01-ca-49542-story.html
  37. https://www.ebsco.com/research-starters/music/berrys-maybellene-popularizes-rock-and-roll
  38. https://www.pbs.org/newshour/show/chuck-berry-defined-generation-rock-n-roll
  39. https://www.nytimes.com/interactive/2017/03/26/arts/music/before-and-after-chuck-berry-rock-n-roll.html
  40. https://www.plosin.com/beatbegins/projects/gallant-gardner.html
  41. https://www.mccandlesscollection.com/classic-cars-in-music/
  42. https://www.elijahwald.com/songblog/maybellene/
  43. https://screenrant.com/best-movie-scenes-featuring-chuck-berry-music/
  44. https://www.gratefulweb.com/articles/valerie-june-honors-chuck-berry-with-maybellene/
  45. https://kworb.net/spotify/artist/293zczrfYafIItmnmM3coR_songs.html
  46. https://www.rollingstone.com/music/music-features/chuck-berry-american-visionary-129350/
  47. https://www.vintagerockmag.com/2025/05/story-behind-the-song-chuck-berrys-maybellene/
  48. https://secondhandsongs.com/performance/43417/all
  49. https://www.youtube.com/watch?v=ENgYvnPlRN8
  50. https://secondhandsongs.com/performance/43416/all
  51. https://www.facebook.com/groups/853719812859964/posts/1131573955074547/
  52. https://www.beatlesbible.com/forum/yesterday-and-today/songs-from-the-beatles-1961-setlist/
  53. https://open.spotify.com/playlist/4uc3kDEwfZ9P6IzLG2RQHR
  54. https://secondhandsongs.com/work/4150/all
  55. https://secondhandsongs.com/performance/4150/all
Add your contribution
Related Hubs
User Avatar
No comments yet.