Badd, an homage to the song. Template:Infobox single The song has been covered by a wide variety of artistes from different genres. Country musician Buck Owens 's version of "Johnny B. Goode" topped Billboard magazine's Hot Country Sides chart in Jimi Hendrix had a posthumous hit with "Johnny B.
Johnny Winter. Chuck Berry was a favorite among the Beatles. They had previously and subsequently recorded versions of other songs by Berry, including " Roll Over Beethoven ", released on the album With the Beatles in , and " Rock and Roll Music ", released on Beatles for Sale in , and several others that subsequently were released on Live at the BBC. Adapted from The Beatles Bible [19]. Goode", a song about a fallen rock star, on his album, Another Year.
Media Wiki Explore. Wiki Content. Recent blog posts Forum. Explore Wikis Community Central. Goode - take 3 : exists in two variants. The original recording of this take without any overdubs was first released on the Hip-O Select set in Goode - take 3 including guitar overdub : This is the hit version.
Like on many other recordings, Berry on take 3 played just the first part of the lead guitar intro but then continued playing the rhythm guitar.
The remaining parts of the guitar intro as well as further guitar solos were recorded and overdubbed later, probably during the same session. Again this provides us with some more facts, but how much of this can be considered as 'hard facts'? The takes are introduced as takes one, two and three. Take 3 is the basis of the final released record.
So we can assume that there were no other takes. The final master however is a modified version of take 3. The most obvious modification is the addition of further lead guitar segments. Another possible modification is a manipulation of the playback speed. It is known that Chess Records modified the playback speed of Sweet Little Sixteen to make Berry's voice sound younger. When a sound recording is played faster, the pitch becomes higher with the voices sounding lighter.
With Johnny B. Goode such a modification is not as obvious as with Sweet Little Sixteen. The running times of the undubbed take 3 and of the final master are almost identical. Whereas we have to keep in mind that we have access to the final master only in the form of 45 rpm records and digital copies like the one on the Hip-O Select box. Just for academic purposes and without any other use anyway I have created myself an audio file in which one can hear the beginning of both variants of take 3 of Johnny B.
The left stereo channel is the un-modified take 3, the right stereo channel contains the released master. One notices the overdubbed guitar which is now to be heard on the right channel only. And one can notice that there is a tiny difference in speed. It sounds as if the released master indeed has a slightly higher pitch and runs a little bit faster.
I have not received any permission nor any response at all, though yet. Very little. We have no information when the guitar overdub was recorded and how. In the late s there was no multi-track tape recording at Chess. Thus it is probable that the original take was played back into the studio where Berry then added the missing guitar lines. This is also where the speed difference may come from: The tape played back on a different machine and then re-recorded along with the solo guitar.
All we can tell for sure is that the mastering of the overdubbed take happened in temporal proximity to the mastering of Sweet Little Sixteen which in turn obviously happened before that song's release in January In regard to the discussion on who was the pianist on Johnny B.
Goode the differences between the three takes are relevant. Comparing the takes, it is obvious that Berry pretty much knew how he wanted the guitar to sound like. The main difference between the complete takes 1 and 3 is the piano playing. And how important this piano playing was becomes audible from the discussions taking place during take 2. Take 2 starts just normal with the famous guitar intro. Then, when the piano comes in, someone shouts "hold it" and a dialog starts which I interpret as follows.
To better understand the different sentences, I created another sound file in which I tried to level the loudness of those said through a microphone and those said without. Stay away from that one! Goode, take three' It is not clear which voice belongs to which person. In my opinion Voice 1, the main voice on the microphone , is the voice of Jack Sheldon Wiener, engineer and from May to August co-owner of the recording studio at S.
Michigan Av. Jack is referenced and talked to in other segments from this session, e. Voice 2, who instructs Berry to continue playing guitar during the piano solo, seems to be Leonard Chess. This fits to Berry's recollections of the session in his book where he writes: "Leonard Chess took an instant liking to this song and stayed in the studio coaching us the whole time we were cutting it. Since he has no microphone I suspect this is the pianist asking.
Voice 4 finally sounds like Chuck Berry to me. Wiener obviously noticed that the piano solo on take 1 was too close to what they had released as Roll Over Beethoven.
Berry himself did not care that much. He believed anyway that his songs differed in lyrics and solos alone. The rest was just standard. Goode, you name it, all of the songs could carry the same background or music that each other has.
The other Berry experts who listened to this studio talk had various different opinions. Some assigned Voice 1 to Leonard Chess, some even to Berry himself. The engineer and LC [Leonard Chess] are speaking through the low quality studio talkback microphone. I perfectly accept that Bob can identify Berry's voice as it sounds today.
We should not forget that we are talking about a recording made when Berry was in his early thirties. Voices change and to me the instructing voice and the voice singing sound differently. The main question the discussions about Johnny B.
Goode circle around is the question "Who is the pianist instructed to stay away from playing Roll Over Beethoven ". Early discographies had listed Leake on piano, the ultimate discographical authority Fred Rothwell now lists Johnson as pianist — following the January 6 recording contract. It is unknown how the early discographies came to listing Leake. Fred writes in a recent article for "Now Dig This" magazine : Session information about musicians has grown organically over the years and much of it has been based on anecdotal, word-of-mouth remembrances.
In the '60s, blues fans would ask artists about old sessions and I'm sure guys like Willie Dixon, for instance, would try to placate them by giving info that was not always correct.
Lafayette Leake was a big friend of Willie's and, I suspect, he got named as pianist for wont of someone else at times. Johnnie Johnson was not part of the Chess studio clique he never recorded in his own name at Chess and I think he may have been overlooked. When I hear rock, good rock, of the calibre of Chuck Berry, I just fall apart and I have no other interest in life. Latest Comments. William Sunday 20 December Joe Monday 21 December Of course it is — my mistake!
Thanks for pointing it out. Ruswal Monday 17 January Michael young Thursday 20 August MikeP Tuesday 16 May
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