Wednesday, February 8, 2012
Friday, February 3, 2012
In late 1954, he teamed up with harmonica player Billy Boy Arnold, drummer Clifton James, and bass player Roosevelt Jackson, and recorded demos of "I'm A Man" and "Bo Diddley". They re-recorded the songs at Chess Studios with a backing ensemble comprising Otis Spann (piano), Lester Davenport (harmonica), Frank Kirkland (drums), and Jerome Green (maracas). The record was released in March 1955, and the A-side, "Bo Diddley", became a #1 R&B hit.
McDaniel adopted the stage name "Bo Diddley".It originates from the a one-stringed instrument called the diddley bow. A "diddley bow" is a typically homemade American string instrument of African origin, probably developed from instruments found on the coast of west Africa. Bo Diddley was well known for the "Bo Diddley beat," a rumba-like beat similar to "hambone", a style used by street performers who play out the beat by slapping and patting their arms, legs, chest, and cheeks while chanting rhymes. Somewhat resembling "shave and a haircut, two bits" beat, Diddley came across it while trying to play Gene Autry's "(I've Got Spurs That) Jingle, Jangle, Jingle". Three years before Bo's "Bo Diddley", a song that closely resembles it, "Hambone", was cut by Red Saunders' Orchestra with The Hambone Kids.
In its simplest form, the Bo Diddley beat can be counted out as a two-bar phrase:His songs (for example, "Hey Bo Diddley" and "Who Do You Love?") often have no chord changes; that is, the musicians play the same chord throughout the piece, so that the rhythms create the excitement, rather than having the excitement generated by harmonic tension and release. In his other recordings, Bo Diddley used a variety of rhythms, from straight back beat to pop ballad style to doo-wop, frequently with maracas by Jerome Green.
Also an influential guitar player, he developed many special effects and other innovations in tone and attack. Bo Diddley's trademark instrument was the rectangular-bodied Gretsch nicknamed "The Twang Machine" (referred to as "cigar-box shaped" by music promoter Dick Clark). Although he had other similar-shaped guitars custom-made for him by other manufacturers, he fashioned this guitar himself around 1958 and wielded it in thousands of concerts over the years. In a 2005 interview on JJJ radio in Australia, Bo implied that the design sprang from an embarrassing moment. During an early gig, while jumping around on stage with a Gibson L5 guitar, he landed awkwardly hurting his groin. He then went about designing a smaller, less restrictive guitar that allowed him to keep jumping around on stage while still playing his guitar. He also played the violin, which is featured on his mournful instrumental "The Clock Strikes Twelve", a 12-bar blues.
On November 20, 1955, he appeared on The Ed Sullivan Show, a popular television variety show, where he infuriated the host. "I did two songs and he got mad," Bo Diddley later recalled. "Ed Sullivan said that I was one of the first colored boys to ever double-cross him. Said that I wouldn't last six months". The show had requested that he sing the Merle Travis-penned Tennessee Ernie Ford hit "Sixteen Tons", but when he appeared on stage, he sang "Bo Diddley" instead. This substitution resulted in his being banned from further appearances.The request came about because Sullivan's people heard Diddley casually singing "Sixteen Tons" in the dressing room. Before long, Diddley's distorted, amplified, custom-made guitar, with its rectangular shape and pumping rhythm style became a familiar, much-imitated trademark, as did his self-referential songs with such titles as "Bo Diddley's A Gunslinger", "Diddley Daddy" and "Bo's A Lumberjack". His jive-talking routine with "Say Man" (a US Top 20 hit in 1959) continued on "Pretty Thing" and "Hey Good Lookin'", which reached the lower regions of the UK charts in 1963. By then, Diddley was regarded as something of an R&B legend and found a new lease of life courtesy of the UK beat boom.
Over the decades, Bo Diddley's venues ranged from intimate clubs to stadiums. On March 25, 1972, he played with The Grateful Dead at the Academy of Music in New York City. The Grateful Dead released part of this concert as Volume 30 of the band's Dick's Picks concert album series. Also in the early 1970s, the soundtrack for the ground-breaking animated film Fritz The Cat contained his song "Bo Diddley", in which a crow idly finger-pops along to the track.
Bo Diddley spent many years in New Mexico, living in Los Lunas, New Mexico from 1971 to 1978 while continuing his musical career. He served for two and a half years as Deputy Sheriff in the Valencia County Citizens' Patrol; during that time he personally purchased and donated three highway patrol pursuit cars. In the late 1970s, Diddley left Los Lunas and moved to Hawthorne, Florida where he lived on a large estate in a custom made log-cabin home, which he helped to build. For the remainder of his life he spent time between Albuquerque, New Mexico and Florida, living the last 13 years of his life in Archer, Florida, a small farming town near Gainesville.
He appeared as an opening act for The Clash in their 1979 US tour; in Legends of Guitar (filmed live in Spain, 1991) with B.B. King, Les Paul, Albert Collins, George Benson, among others, and joined The Rolling Stones as a guest on their 1994 concert broadcast of Voodoo Lounge, performing "Who Do You Love?" with the band. Sheryl Crow and Robert Cray also appeared on the pay-per-view special.In 1998, Bo appeared alongside legendary guitarists B.B. King, Eric Clapton, and Jeff "Skunk" Baxter as members of the Louisiana Gator Boys in the film Blues Brothers 2000.
In 2003, Bo was cast as himself in an episode of According to Jim, titled Bo Diddley.
Bo Diddley died on June 2, 2008 of heart failure at his home in Archer, Florida. Garry Mitchell, a grandson of Diddley and one of more than 35 family members at the musician's home when he died at 1:45 a.m. EDT (05:45 GMT), said his death was not unexpected. "There was a gospel song that was sung (at his bedside) and (when it was done) he said 'wow' with a thumbs up," Mitchell told Reuters, when asked to describe the scene at Diddley's deathbed. "The song was 'Walk Around Heaven' and in his last words he said 'I'm going to heaven".