Chuck Berry supposedly wrote this masterpiece in response to his sister hogging the family piano playing the classics while he wanted to jump on the keys and boogie-woogie. True or not, the song -- and its lyrical message -- became one of the early signposts of '50s rock & roll, one that delineated a simple message: rock & roll was the newest, coolest music there was and it was going to wipe all the old fuddy-duddy sounds off the board forever. While it didn't do exactly that, it did become one of the clarion calls of the new music, helping to define its sound as well. The original recording by Berry is fraught with anomalies not found on the majority of his best-known recordings. Played in the key of E flat, it's taken at a much faster tempo than any of his other hits that employ his signature guitar intro. There's considerable vocal distortion present on the entire track, Berry nailing the mic and popping consonants throughout. The drummer does not contribute one single roll during the entire performance, clobbering a backbeat that sounds like one hand was tied behind his back while the mix is generally murky, with two saxophones only emerging on the final chord. With famous cover versions from Jerry Lee Lewis and the Beatles, the song has gone on to become a staple of rock & roll bands (like most of Berry's song catalog) and is open to variety of interpretations, most artists opt for a slower reading of the tune.