Me and Johnny B.

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Deep down in Louisiana close to New Orleans Back up in the woods among the evergreens Stood a log cabin made of earth and wood Where lived a country boy named Johnny B. Goode He used to carry his guitar in a gunny sack Sit beneath the tree by the railroad track Engineers would see him sitting in the shade Strumming with the rhythm that the drivers made People passing by they would stop and say "Oh my that little country boy could play" I said go Go Johnny go go Go Johnny go go Go Johnny go go Go Johnny go go I said go Johnny B.

Goode His mother told him, "Someday you gonna be a big man You'll be the leader of a big old band Many people coming from miles around Hear you play rock when the sun go down Maybe someday your name will be in lights Saying 'Johnny B. Johnny B. Goode Alright! See the original Chuck Berry version for more details.

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The concert was broadcast live by various TV stations in the United States. GOODE appears on 4 official releases. This is part of a nine-volume series that was later repackaged into a 9-DVD box set. This volume includes two tracks on which Bruce Springsteen appears:.

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This is a download-only digital release, part of a ten-volume series. This volume includes one track on which Bruce Springsteen appears:.

Chuck Berry - Johnny B. Goode

Remarkably, Chess waved him in, and Berry passionately delivered a well-rehearsed speech outlining his hopes as a musician. Chess recognized the crossover potential of a black artist playing country music, and he scheduled a session for May 21, After all, if a white man like Presley could make hit records by sounding black, why not try the reverse? Chuck quickly responded with an outrageous story about a man driving a V8 Ford, chasing his unfaithful girlfriend in her Cadillac Coupe de Ville. Although the record only made it to the mids on the Billboard pop chart, its influence was massive in scope.

Johnny Gayden | Discography & Songs | Discogs

Here was a black rock-and-roll record with across-the-board appeal, embraced by white teenagers and Southern hillbilly musicians alike including Elvis Presley, who added it to his stage show. His formula was ingenious: write lethally funny lyrics about the teenage experience, strap them into a high-octane groove, add a little country twang, shake it up with a showstopping guitar solo, and then watch the acclaim pour in.

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It was a recipe that would dominate popular music for decades to come. In his choice of the electric guitar, something sleek and of the moment, the fictional character of Goode would forge an image of the archetypal rocker, doing as much to shape the history of the instrument as any real-life figure ever has. After introducing our hero, the anthem turns to his guitar. He was a bad boy, a story line all the more compelling to a generation of teenagers just beginning to identify with outsider icons such as James Dean and Elvis Presley.

It was a song that thrilled and exhilarated audiences both black and white. The glorious peal of his T proclaimed that school was out. John Lennon, Bob Dylan, Jimi Hendrix, Keith Richards and Bruce Springsteen were just a few of the working-class kids who immediately grasped the sly moral of the song, and who recognized a good blueprint when they saw one. He was attempting to marry the diction of Nat King Cole, the lyrics of Louis Jordan, and the swing of jazz guitarist Charlie Christian, but with the soul of Muddy Waters.

But he was being modest. His synthesis of genres and his use of amplification were wholly original. If Christian introduced the electric guitar to a mass audience, Berry created its grandest mythology.

Johnny B. Goode by Chuck Berry

As the electric guitar began to take on its signature shape in the Fifties—almost indistinguishable from the guitars of today—it bears noting how conspicuously sexy that design had become. Its provocative design was something Berry was one of the first to acknowledge, and that he rarely failed to exploit in his live shows.

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During each appearance, Berry would kiss his Gibson or Gretsch on the neck, wrestling with it as he made it scream and swoon during his wild solos, jutting it lasciviously from his waist as he did splits.