“Johnny B. Goode” is a song about a country boy who makes it big by playing rock and roll; of course, that boy was Chuck Berry himself, whose guitar work on this twangy tune comprises rock guitar 101. Just about every guitarist in the business has studied Berry’s riffs in this quintessential rock classic. Incidentally, “Johnny B. Goode” hit #8 on the Billboard Hot 100, and Rolling Stone magazine named it #7 on its list of the 500 Greatest Songs of All Time. Not bad for a song that has been called “the first rock star origin story.”
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Every month in Classic Rock our High Hopes feature focusses on new bands we believe have the capability of going on to achieve big and bold things. In the past, we’ve featured Black Stone Cherry, Rival Sons, Airbourne, Cadillac 3, Halestorm, Shinedown, Alter Bridge, Royal Blood and many more.
^ Mason, Stewart. “Shai Hulud”. Allmusic. Retrieved February 17, 2012. “A positively themed metalcore band with some straight-edge and Christian leanings, the influential Shai Hulud have maintained a strong band identity since their original formation in the mid-’90s”.
Never has alienation sounded so beautiful and brilliant as in Pink Floyd’s song “Wish You Were Here.” Even up to the 21st century this song is still as it’s been streamed over a million times on Spotify.
If people could have been up close and seen this song played live, they would easily vote this song #1. I have seen Jimmy l’ve do his solo and although iconic and legendary, it pales in comparison to Alan Collins and Gary Rossington’s live performance to Freebird’s guitar lead. What few people know is that they played those simultaneously and seamlessly giving the sound of what most people believe as one lead guitar playing. If you listen closely you can here two distinct guitars from the beginning and about midway through they split into their own tracks. Had I not witnessed this first hand standing less than 10 feet away with Ronnie Van Zant standing between them I would have continued to believe it was one guitar lead with another playing rhythm. It was an awesome concert back in 1975 Brussels, Belgium on their world tour.
The critics say AC/DC songs sound the same. Tell me, does BACK IN BLACK (1980), For Those About to Rock (1981) sound like Rock and Roll Train (2009) and Rock Or Bust(2014)? Their sound is theirs. It’s that AC/DC sound that only the Young brothers can produce. It’s actually a subset of rock n roll. You have metal, blues, Rock, Pop, and AC/DC. Plus, they have never made music for the critics. They make it for their Fans. Put it this way: if AC/DC ever listened to their critics at least ONE TIME, I believe they wouldn’t be where they are today. Still making music for soundtracks. Still selling out stadiums at world record pace. I get a kick out of those who say “oh they’re losing a step. They’re getting old”. Haha! Of course! They’re human! But losing a step? I disagree. If they lose a step then they’re hiding it very well. Not bad for guys in their 60’s pushing 70! I can barely get out of bed at 40 sometimes but here they are rocking still. Numbers don’t lie and neither do the …more
32 Slipknot Slipknot is an American Heavy Metal band formed in 1995 from Iowa. The band is best known as one of the pioneers of the New Wave of American Heavy Metal during the late 1990s – 2000s and are distinguishable by the band’s clothing choices, consisting of black/red jumpsuits and horror inspired masks. …read more.
Classic Rock 101.5, and Gannon Travel are taking you to Monster Energy NASCAR Cup racing under the lights at Kansas Speedway on May 12th & 13th!! The Trip includes deluxe round trip motor-coach transportation out of the Tri Cities to Kansas City, Reserved racing tickets, an Infield Pre Race Pass and Overnight stay at The…
Paranoid, a masterpiece subjective to the spontaneous product of the human mind; did you know that Paranoid was created as a ‘filler’? Here’s what Geezer Butler said… The Song ‘Paranoid’ was written as an afterthought. We basically needed a 3 minute filler for the album, and Tony came up with the riff. I quickly did the lyrics, and Ozzy was reading them as he was singing. ” Remarkable.
Music scholar Jon Stratton traced classic rock’s origins to the emergence of a classic-rock canon. This canon arose in part from music journalism and superlative lists ranking certain albums and songs that are consequently reinforced to the collective and public memory. Robert Christgau said the classic-rock concept transmogrified rock music into a “myth of rock as art-that-stands-the-test-of-time”, and believed the canonizing of certain rock artists by critics, major media, and music establishment entities such as the Rock and Roll Hall of Fame was inevitable. Media academic Roy Shuker said classic-rock radio programmers largely play “tried and proven” hit songs from the past based on their “high listener recognition and identification”; he identified white male rock acts from the Beatles’ Sgt. Pepper era through the end of the 1970s as the focus of their playlists. As Catherine Strong observed, classic rock songs are generally performed by white male acts from either the United States or the United Kingdom, “have a four-four time, very rarely exceed the time limit of four minutes, were composed by the musicians themselves, are sung in English, played by a ‘classical’ rock formation (drums, bass, guitar, keyboard instruments) and were released on a major label after 1964.”