Johnny B. Goode
Chuck Berry's intro lick is rock's opening statement, a country boy's origin myth now drifting past the solar system.
Chuck Berry's intro lick is rock's opening statement, a country boy's origin myth now drifting past the solar system.

Two live takes in Nashville, Chet Atkins on guitar, and a harmony that topped three Billboard charts at once.

Cut as the B-side of Donna, a Veracruz son jarocho with Carol Kaye on rhythm and Earl Palmer driving.
Cochran overdubbed his own bass voice for the boss and the senator, Earl Palmer drumming behind the great teenage complaint.

Little Richard lifted the piano intro straight off Rocket 88, and Earl Palmer's drums do the rest.

Lafayette Leake's piano, Willie Dixon's bass, and a melody Brian Wilson borrowed so closely he lost the copyright.

Cahn and Van Heusen wrote it to order, and Billy May's first Sinatra arrangement made travel sound like swagger.

Berry Gordy wrote it before Motown existed, and arranger Dick Jacobs sped the ballad into Wilson's signature record.

Earl Palmer on drums, Guybo Smith on bass, a B-side flipped into a number six hit in Britain.
Butler's baritone over a doo-wop crawl; the billing change to his name split the group and handed Mayfield the lead.

King Curtis honks the tenor break, later echoed in Yakety Sax, while Leiber and Stoller turn chores into comedy.