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Most artists would leave a speeding ticket on the New Jersey Turnpike as a bad memory, but Chuck Berry turned his close encounter with the law into the high-octane You Can’t Catch Me. Naturally, The Rolling Stones couldn’t resist the temptation to take that engine for a spin themselves in 1964. Their studio take remains a polarizing curiosity—half-baked to some, a locomotive-fueled favorite to Keith Richards. Whether you think it’s a missed opportunity or a misunderstood gem, the story behind this track involves everything from flying cars to a massive Beatles lawsuit. Let’s look under the hood of this messy masterpiece.
New Jersey Turnpike in the wee wee hours/ I was rolling slowly ’cause of drizzlin’ showers…
Written by: Chuck Berry Recorded: Regent Sounds London, June 24-26 and Sept. 28 1964
Mick Jagger: vocals Keith Richards: lead guitar Brian Jones: rhythm guitar Bill Wyman: bass Charlie Watts: drums
More about The Rolling Stones take on You Can’t Catch Me
*By Marcelo Sonaglioni
Chuck Berry’s Need for Speed Inspires a Rock ClassicThe Genesis of a High-Speed Classic
When Chuck Berry climbed behind the wheel of his Buick on the New Jersey Turnpike, he wasn’t just commuting; he was participating in an impromptu high-stakes race against competing convertibles. This frantic incident, eventually broken up by a patrol car, became the raw material for his 1955 masterwork, You Can’t Catch Me. Berry expertly embellished this real-life brush with the law by adding a radio blaring rock ’n’ roll and an attentive girlfriend into the narrative mix. The track, captured at Chess Studios, famously references his earlier hits like Maybellene. Beyond the tarmac, the song’s lyrics hinted at the futuristic Molt Taylor Aerocar, an “air-mobile” with folding wings nearing production. Featured prominently in the 1956 film Rock, Rock, Rock! this driving anthem remains a seminal artifact of the pioneers of rock ’n’ roll.
A Study in Studio Production
When The Rolling Stones decided to tackle this track in 1964, they aimed for a nostalgic, fifties-inspired sound. Recording sessions at Regent Sound Studios showcased a deliberate, albeit polarizing, approach. Brian Jones utilized a Gretsch Anniversary guitar drenched in slap-back echo, while Charlie Watts showcased his precision by overdubbing snare rim hits. Bill Wyman provided a rhythmic foundation on his Framus Star bass, though the final output remains inconsistent. Keith Richards chose to deviate from Berry’s original guitar parts—save for the opening—infusing a blues-rock edge on his Epiphone Casino. Meanwhile, Mick Jagger’s vocal performance felt somewhat uninspired, leading to a version that, while technically proficient, lacked the raw conviction that fans usually demand from the band.
The Locomotive Heavy Beat
Despite critics noting the track’s repetitive nature and perceived lack of spark, it holds a unique position within the band’s catalog. Interestingly, Keith Richards himself identifies You Can’t Catch Me as his favorite number on the album. He describes the recording as possessing a “fantastic heavy beat which builds up like a locomotive coming up behind you,” highlighting the percussive engine driving the song forward. This personal endorsement from the guitarist underscores the internal divide between objective performance quality and the visceral joy of playing something that hits hard.
A Legacy of Legal Battles
The influence of Berry’s songwriting reached far beyond the Stones’ cover. Decades later John Lennon found himself in the crosshairs of a legal dispute when a line in Come Together was deemed too close to You Can’t Catch Me. This triggered a lawsuit from Morris Levy, the music publisher representing Chuck Berry. The resulting legal warfare involved The Beatles, Capitol, EMI and Apple, culminating in a settlement where Lennon agreed to record twelve songs for the Levy catalog, including his own rendition of the very song that sparked the controversy.
Cinematic and Chart Reality
Surprisingly, this high-octane ode to the open road failed to chart upon its original release, with Havana Moon serving as the B-side. Nevertheless, its inclusion in the soundtrack for the film Rock, Rock, Rock ensured its survival. As a rare piece that appeared both in the movie and on the companion album, it stands as a testament to the enduring, if occasionally litigious, power of Berry’s original vision.
Keith Richards (1965): “It’s my favourite on the album. It has a fantastic heavy beat which builds up like a locomotive coming up behind you.”
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