”500%, more man
A living dream
Bo Diddley, baby
More man than you ever seen
A young women’s wish
And a old women’s dream”
”Bo’s Blues features 22 of Bo Diddley’s best blues-oriented sides from the Chess catalog, including some rare stuff — the rip-roaring 1959 outing “Run Diddley Daddy,” a jive-loaded “Cops and Robbers” from 1956 that features maraca shaker Jerome Green more than Diddley, and a surging “Down Home Special.” If you think that everything Bo Diddley ever made has that same shave-and-a-haircut beat, this collection will set you straight!”[Bill Dahl]
From time to time I have to post some Bo’s stuff just to remind you on the master of wyld rhythm & blues. This is Bo intermezzo at Surfadelic.
Hey folks! You know Bo. Hey Bo Diddley and stuff… This here is a 20 min. ’66 B&W promo documentary directed by Gary Sherman on Bo’s rumble, Duches, studio session [”We’re Gonna Get Married”], live gigs [”Hey Go Go”], records pressing and special appearance of legendary DJ Tom “Big Daddy” Donahue. I’ve recently uploaded it on YT just fer ya, so better check it out while it’s up. I think you need mo’ BO!
One of Bo Diddley’s least-known albums, mostly recorded in April of 1964 and released a year later, at the point when none of his records were selling in America. With an edgy, raunchy sound and modern record techniques (it’s in stereo), Diddley and band come up with a solid ’60s version of his original sound. The title track is a real jewel, featuring Jerome Green on the maracas and Lafayette Leake on the piano. “Mama Keep Your Big Mouth Shut” isn’t a bad soul-styled number, with Diddley abandoning his standard beat in favor of a smoother, more Motown-like sound. He tries for a similar sound on “I Wonder Why (People Don’t Like Me)” and “Brother Bear.” In addition to the title track (which is not the Hank Williams tune), the Bo Diddley beat gets a workout on “La La La,””Rain Man,” and “Bo Diddley’s Hoot’nanny.” Bo gets to have some real fun on “London Stomp,” his commentary on the sudden fashionability of British rock & roll, parodying the accents and attitudes of most of the bands that he encountered on his visit to England in October of 1963. Other tracks sound like they’d have worked well as part of extended jams of the kind that Diddley did on-stage–“Yeah Yeah Yeah,” in particular, could’ve come from the middle of one of his 15-minute shuffle-and-chant workouts, and would’ve been great in such a setting, although here, as a free-standing 2:25 track it’s a little weak, but that can be forgiven in view of the strength of the rest of the material. [Bruce Eder]
Same ole “Diddling” but hey! It’s a Bo Diddley’s Beat alright. Diddle Dig!!!