GM – FBF – Today’s Story is about an artist who broke new ground in rock and roll’s formative years with his unique guitar work, indelible African rhythms, inventive songwriting and larger-than-life persona.
He will forever be known for popularizing one of the foundational rhythms of rock and roll. This African-based 4/4 rhythm pattern (which goes bomp-bomp-bomp bomp-bomp) was picked up by other artists and has been a distinctive and recurring element in rock and roll through the decades. Enjoy!
Remember – “I thank you in advance for the great round of applause I’m about to get.” – Bo Diddley
Today in our History – December 30, 1928 – Ellas “Bo Diddley” McDaniel is born.
Bo Diddley, original name Ellas Bates, later Ellas McDaniel, (born December 30, 1928, McComb, Mississippi, U.S.—died June 2, 2008, Archer, Florida), American singer, songwriter, and guitarist who was one of the most influential performers of rock music’s early period.
He was raised mostly in Chicago by his adoptive family, from whom he took the surname McDaniel, and he recorded for the legendary blues record company Chess as Bo Diddley (a name most likely derived from the diddley bow, a one-stringed African guitar popular in the Mississippi Delta region).
Diddley scored few hit records but was one of rock’s most influential artists nonetheless, because he had something nobody else could claim, his own beat: chink-a-chink-chink, ca-chink-chink. That syncopated beat (also known as “hambone” or “shave-and-a-haircut—two-bits”) had surfaced in a few big-band rhythm-and-bluescharts of the 1940s, but Diddley stripped it down and beefed it up. He made it, with its obvious African roots, one of the irresistible dance sounds in rock and roll. It was appropriated by fellow 1950s rockers (Johnny Otis’s “Willie and the Hand Jive” ), 1960s garage bands (the Strangeloves’ “I Want Candy” ), and budding superstars (the Rolling Stones’ version of Buddy Holly’s Diddley-influenced “Not Fade Away” ). For all that, Diddley hit the pop charts just five times and the Top 20 only once (even though his 1955 debut single, “Bo Diddley,” backed with “I’m a Man,” was number one on the rhythm-and-blues charts).
After playing for several years on Chicago’s legendary Maxwell Street, Diddley signed with Chess subsidiary Checker in 1955. The lyrics to his songs were rife with African-American street talk, bluesy imagery, and raunchy humour (e.g., “Who Do You Love” ). He used tremolo, fuzz, and feedback effects to create a guitar sound on which only Jimi Hendrix has expanded (consider sonic outbursts like “Bo Diddley”). His stage shows—featuring his half sister the Duchess on vocals and rhythm guitar and Jerome Green on bass and maracas—made an art out of bad taste. Commonly dressed in a huge black Stetson and loud shirts, Diddley no doubt influenced the dress of British Invasion groups such as the Rolling Stones. The odd-shaped guitars that he played reinforced his arresting look.
In the 1960s he recorded everything from surf music to straight-ahead blues with equal aplomb. But his last conquest was the sublime “You Can’t Judge a Book by the Cover” (1962), until the British Invasion put him back on the map long enough for a minor 1967 hit, “Ooh Baby.” He was always outspoken about how black musicians had been underpaid, and he toured only sporadically after the 1970s, appeared in a few movies, and made occasional albums. He was inducted into the Rock and Roll Hall of Fame in 1987. Research more about Black Rock and Roll stars and share with your babies. Make it a champion day!