The beauty of pop music for me is the strangeness and eccentricity that sneaks into the format. I used to watch "Shindig!" every week because it was my window to the rock n' roll world of the 1964/1965 years. Once in awhile, the British singer Dave Barry would make an appearance, and it was a total foreign object in front of my eyes. As he sang, he would use his hand microphone as a visual tool and use the long cord as an extension to another world. He would move slow-motion as he used the cord to slowly swing the microphone from one hand to the other. I was amazed how he could fit his songs into that extra slow movement of his body. I never have seen anyone like that on stage or screen that can move in that fashion. His biggest hit in the United States was this beautifully haunting song "The Crying Game" which reeks of sadness and regret. Perhaps the first "Emo" song in teenage pop that wasn't about a car or motorcycle crash, but about sadness itself. It's either Jimmy Page or Jim Sullivan on electric guitar, but the echo is not one of rockabilly, but more likely from within the echo walls of one's brain or heart.
Berry as far as I know never wrote his own songs. The material is very much the songs that a lot of British Rn'B artists were doing at the time. For example Chuck Berry's "Memphis, Tennessee," and so forth. Again what is unique is that Berry used this song not sounding like a bluesman from the American South, but almost like an alien who discovered the joys of such songs. His version of "Memphis, Tennessee" is very different from Johnny Rivers or Chuck Berry or even the Rolling Stones. The other great song he recorded was a Ray Davies' (The Kinks) "This Strange Effect." Which like "The Crying Game" has an oddness that is appealing but also profoundly moving in tone and gesture. Written in the height of the Ray Davies great songbook, this like his other songs deal with feeling in such an intimate nature.
Decades later I went to a Shinto ceremony in Japan, and there was a parade which featured women from the court that goes down a walk away but moves in a very stylized manner. It was at that moment when I saw this, that I was immediately reminded of Dave Berry's stylized movements on stage. These women would move in a very slow manner, and when the music stopped or changed, they would freeze frame. It was to me at the time a mixture of old Japanese culture (of course), voguing done in gay clubs of the 1970s and 1980s, and Dave Berry. On top of that, Berry had the wonderful taste in doing a version of Barbara Lewis' "Baby, It's You" and "Little Things." "The Best of Dave Berry" is very much music that is tattooed on my brain and DNA.
