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correct_death_00084
|
FactBench
|
0
| 74
|
https://www.chuckberry.us/bodiddley.html
|
en
|
Chuck Berry News
|
[] |
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BO DIDDLEY DIES JUNE 2
MIAMI (Reuters) - Rock'n'roll pioneer Bo Diddley died on Monday at the age
of 79. Diddley died of heart failure at his home in Archer, Florida, his
management agency, Talent Consultants International, said in a statement.
"One of the founding fathers of rock'n'roll has left the building he helped
construct", the statement said.
Diddley suffered a stroke during a concert in Iowa in May 2007 and was
hospitalized in Omaha, Nebraska. In August 2007 he had a heart attack in
Florida.
Garry Mitchell, a grandson of Diddley and one of more than 35 family members
at the musician's home when he died at about 1:45 a.m. EDT (0545 GMT), said
his death was not unexpected.
"There was a gospel song that was sang and 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 stated that he
was going to heaven.
Read more
* * * * * * * * * * * * * * * * * * * * * * * * * * *
Funeral service details
Details on services for late singer, songwriter and guitarist Bo Diddley
have been announced by his representatives.
A private wake for family and invited friends will be held June 6 at the
Showers of Blessing Harvest Center in Gainesville, Florida, with a public
viewing from 1-2 pm and the funeral service from 2-5 pm at the same location
on June 7. Willie King, pastor.
A memorial service featuring a musical tribute from Diddley's touring band,
the Debby Hastings Band, and guest musicians will be held immediately following
the funeral service at Gainesville's Martin Luther King Center.
The burial service, which is scheduled for June 8, is also a private event.
Fans who wish to send flowers are instructed to contact Prange's Florist at
352-335-0100.
Donations can also be made in lieu of flowers to: The Bo Diddley Charitable
Foundation, c/o Ronald Stevens, Esq, 280 East Hathaway Avenue, Bronson,
Florida, 32621.
* * * * * * * * * * * * * * * * * * * * * * * * * * *
Bo Diddley interview 1 * * Bo Diddley interview 2
Bo Diddley interview 3
Bo Diddley hospitalized May 12, 2007
Bo Diddley has been hospitalized after suffering a stroke. A press release
from his publicist says the singer and songwriter showed signs of disorien-
tation after a show at Horseshoe Casino, Council Bluffs, Iowa, Saturday,
May 12, 2007. He was immediate taken to Creighton University Medical Center
in Omaha, Nebraska.
Medical updates will be made as the situation warrants. Press inquires can
be made to Susan Clary at Big Monkey PR, scbigmonkey@earthlink.net
(323) 653-4987.
Fans are asked not to contact the hospital but may send well wishes to
postmaster@tciartists.com or TCI (Talent Consultants International, Ltd.)
105 Shad Row, 2nd Floor, Piermont, NY 10968.
Source: David Blakey
Site home * * More Bo Diddley * * Bo Diddley Site
Diddley's 2007 European tour postponed
June 02 - Market Harborough, England - Leisure Centre
June 03 - Cardiff, Wales - Coal Exchange
June 05 - Southampton, England - The Brook
June 06 - London, England - Jazz Cafe
June 07 - London, England - Jazz Cafe
June 09 - Liverpool, England - Cavern Club
June 10 - Leeds, England - Rio's
June 12 - Wolverhampton, England - Robin Hood 2
June 13 - Newcastle, England - Carling Academy
June 14 - Glasgow, Scotland - The Ferry
June 16 - Frome, England - Cheese & Grain
June 17 - Newquay, England - The Barracuda
Recent updates 2008
|
||||||||
correct_death_00084
|
FactBench
|
0
| 8
|
https://www.gainesville.com/story/news/local/2011/02/20/bo-diddleys-estate-in-limbo/31794791007/
|
en
|
Bo Diddley's estate in limbo
|
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"Kimberly C. Moore Staff , Gainesville Sun"
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2011-02-20T00:00:00
|
Bo Diddley's attorney and two agents/managers are seeking to sell the publishing rights to his entire music catalog for $4.3 million to pay off possible tax debts for his estate, estimated to be abou…
|
en
|
The Gainesville Sun
|
https://www.gainesville.com/story/news/local/2011/02/20/bo-diddleys-estate-in-limbo/31794791007/
|
BRONSON — Rock 'n' roll legend Bo Diddley had often complained before he died of being “ripped off” by the musical revolution he helped found, having received no royalty payments for his biggest hits, only flat recording fees.
Now, almost three years after Diddley's death, his family stands to begin receiving the payments long denied the rock icon — as the publishing rights to his earliest songs, which he signed away early in his career, return to his estate.
But in order to receive those royalty payments, his 22 heirs first will have to prevent the sale of those publishing rights.
Diddley's attorney and two agents/managers are seeking to sell the publishing rights to his entire music catalog for $4.3 million to pay off possible tax debts for his estate, estimated to be worth about $6 million. For the total sum, the rights to each song would be sold as they revert back to the estate over the next several years.
The sale of publishing rights would mean Diddley's heirs — six children and 16 grandchildren — would be out about $400,000 a year in record royalties for the next four decades.
In a hearing in Levy County Circuit Court on Jan. 27, Judge Robert Roundtree Jr. postponed a decision on the sale until Diddley's attorney can provide an accounting of the total estate and the family can provide details of a possible leasing of the music rights instead of an outright sale. The next hearing is scheduled for 10 a.m. on March 14.
Diddley's heirs, particularly his oldest son, Ellas Anthony McDaniel, and Diddley's granddaughter Jatonne Mitchell, are fighting to keep ownership of the publishing rights of 311 songs, including his biggest hits, “I'm A Man,” “Who Do You Love” and “Love Is Strange.”
They allege that Diddley's attorney, Ron Stevens of Bronson, and Diddley's agents/managers, Faith Fusillo and Margo Lewis of New York City, took advantage of the singer, who had only an elementary school education. Diddley's will named Stevens the trustee of his estate, and Fusillo and Lewis received a percentage of royalties through a contract they had with Diddley.
The family, however, alleges the trio did not explain to Diddley that:
* It would be Stevens — and not the family — who would have control over his estate, including his music.
* His longtime managers would get 30 percent of anything of Diddley's that sold, including his image, public performance (radio and television play) rights and — if they remain with the estate — royalties from his publishing rights.
* The family would divide the remaining 70 percent of royalties and fees among the 22 heirs.
“His fiduciary obligation to my family has not been rendered,” McDaniel said about Stevens. “For my whole family, this has got to stop.”
Stevens, Lewis and Fusillo deny that Diddley did not understand that they would be in control; they say he wanted it that way, just as he kept his family out of his business dealings when he was alive.
Stevens, Fusillo and Lewis explained that they had tried to do what was best for Diddley, including filing lawsuits to recoup some of Diddley's financial losses as well as to protect his image. They say they now are trying to do what is best for the estate.
Stevens, Fusillo and Lewis said the family, most of whom live in rural Archer or Bronson, does not have a good grasp of the music industry, royalties, copyright laws or marketing. They told Judge Roundtree that in addition to covering tax bills, money from the sale would be used to help pay for a lawsuit to try to win back the rights to all of Diddley's music, in perpetuity. They said they had promised the singer they would do that after he had signed away those rights early in his career.
In e-mail exchanges with The Gainesville Sun, Stevens said he was limited as to what he could publicly discuss.
“The rules of the Florida Bar to my best knowledge limit and/or preclude me from providing most of the answers and/or information you have requested,” Stevens wrote in response to questions about billing and how legal matters had been explained to Diddley. “Sadly this position can often be taken as having something to hide; I can only do my best to assure you that such is not the case. You probably have no way of knowing just how much I would love to fully address each question you have posed.”
Diddley's family provided his will and other documents to The Sun. The will is filed in Levy County under his birth name, Ellas Otha Bates McDaniel.
In the will, Diddley made Ron Stevens trustee of an irrevocable trust and personal representative of his estate, which allows Stevens to “sell or convey any part of my estate.”
The will also specifies that Diddley's longtime managers, Fusillo and Lewis, will “continue to manage and perpetuate my entertainment business and affairs domestically and internationally in perpetuity according to acceptable industry standards they receive as compensation a total of 30 percent of all gross revenue collected by them.”
They said in court last month that their arrangement with Diddley for nearly 30 years when he was alive was also a flat 30 percent fee, which paid for three jobs: managing his career, booking his shows and taking care of his business matters.
A well-known Nashville singer and songwriter said 5 to 15 percent for a manager alone is reasonable. Lewis and Fusillo also act as agent and business manager. An official from CMG Worldwide, which represents and manages the intellectual property of dead celebrities for their heirs, said 30 percent was a fair amount to charge.
But Judge Roundtree said “the reasonableness of the fees” seemed extreme, especially for the proposed deal.
“I think somebody needs to sharpen their pencil and rework this,” Roundtree said. But Roundtree added that Fusillo and Lewis also were responsible for Diddley having any money at all at the end of his life.
The family now has hired Atlanta entertainment attorney Kendall Minter and his Fort Lauderdale colleague Frank Scruggs to represent them — and to contest the will.
“The game plan is restore to the family their appropriate rights to the estate so that they have some input as to what's going on with the legacy that ... their grandfather and their father left them,” Minter said.
Earning money from songs is a tangled web of people wanting a piece of the pie. There are several revenue streams for recording artists: recording royalties; publishing copyrights; writer's copyrights; public performance rights, which are paid to publishers and writers when songs are played on the radio or television or on stage; and mechanical royalties, which are paid to publishers by record companies when records are purchased. The publishing rights to his first two songs, “Bo Diddley” and “I'm A Man,” will return to his estate in March.
Records provided by the family show that in the first quarter of 2010, the Diddley estate received $41,209 in royalties on Diddley's work. Stevens declined to reveal what the latest quarter's royalties were. However, in a December 2009 letter to the family, he said that, “After 2011 Margo and Faith estimate an annual gross income of $400K yearly from royalties, in addition to other sources of income they are able to generate on your behalf.”
The estate fight is an echo of Diddley's early days in the music industry, when Muddy Waters and Diddley made their way from the Mississippi Delta to Chicago, bringing with them the slow, heart-wrenching music known as the blues, along with the fast-paced sounds of what became rock 'n' roll. Diddley, with his self-designed square guitar and slowed-down riffs on “shave and a haircut,” is given credit for being one of the founding fathers of rock 'n' roll, developing a rhythm now named for him.
In 1954 in Chicago, Diddley wound up recording for two Polish immigrants, brothers Leonard and Phil Chess, under their labels, Chess and Checker Records.
Diddley had a huge hit in 1955 with “I'm A Man,” and the flip side of that 45, “Bo Diddley.” But the Chess brothers paid Diddley a flat, one-time fee for those two songs, the amount of which remains unknown.
According to all involved, the story is the same for most of his other hits with Chess Records. Other well-known black artists with Chess also alleged the same problems. Diddley's main source of income was from touring and from his writer's copyrights.
After Diddley began questioning the Chess brothers about royalties and more money, his music gradually stopped being played on the radio and Diddley has said in numerous interviews that he realized he had been blackballed by the industry.
Diddley then signed a contract in 1971 to sell his writer's copyrights for $10,000 to the Chess family. The contract states that the sale was “forever.” That writer's catalog is what Fusillo and Lewis said they want to get back for the estate.
Diddley continued to tour until the night he had a stroke in May 2007. “I guess because I was a little country black boy in Chicago, I got ripped off,” Diddley told an interviewer in 2003 about the Chess brothers.
In fact, Diddley was plagued by financial woes throughout his career, becoming the poster child for musicians who didn't realize they were signing away their rights to future royalties for pennies on the dollar. Diddley often trusted the wrong people, including his former manager, Marty Otelsberg, who helped himself to Diddley's bank account for decades. A judge in Los Angeles awarded Diddley more than $500,000 in 1994 from Otelsberg's estate.
Stevens filed a petition in January with the Levy County Court, hoping to get authorization to sell the publishing rights to Diddley's music catalog, which one appraiser estimated to be worth about $4.3 million.
Stevens explained in court documents that the need for the sale stems from two IRS issues:
A “transaction” Diddley made in 2007 on his public performance rights for $1.54 million. At the time, Stevens said, he, Lewis and Fusillo believed the transaction was a loan, but the IRS has since declared it was a sale, on which Stevens says the estate will owe a substantial amount of taxes.
Taxes the IRS says will be owed on the $4.3 million value of the publishing rights.
Roundtree agreed that anything more than the $2 million cap of a non-taxable inheritance would be subject to a 55 percent tax rate. Stevens said there is simply not enough money in the estate account to pay the government.
Fusillo confirmed that Diddley sold some, not all, of his public performance rights in November 2007 for $1.54 million.
But Diddley's granddaughter and caretaker, Jatonne Mitchell, and the other heirs question how Diddley could have sold anything in November 2007 — six months after a stroke left him debilitated and with aphasia. He was unable to speak coherently or, Mitchell said, understand everything happening around him, let alone sign a legal document. Mitchell said her grandfather repeatedly began yelling, “What did I just do?” after Fusillo and Lewis left the house with the contract.
Fusillo said the sale was made in order to obtain cash for Diddley's health care following his stroke, as he had no supplemental health insurance and they didn't want to wipe out his savings. Fusillo had power of attorney to sign his name, but she said she did not want to be seen as taking advantage of that privilege. Instead, she said she and Lewis flew to Florida, and she met for an hour with Diddley, explained the situation and he signed the paperwork.
Friends and family connected to Diddley say that selling his music rights is the last thing he would have wanted.
The family is working with attorney Kendall Minter of Atlanta to try to gain control over the estate.
Minter, a native of New York City and a graduate of Cornell Law School, has represented numerous artists and the estates of artists. Minter said in a telephone interview that, when he saw Diddley's will, he was “shocked.”
“Based on the fact that Bo, when he made the will, completely entrusted the care and well-being of his entire family for the rest of their lives to a couple of managers in New York and a sole practitioner attorney that he had done business with, without any real accountability,” Minter said. “And that's the unfortunate aspect for the family — they have very little, if no, say in the running of the estate. The estate was set up for their well-being.”
Diddley's children and grandchildren are simply frustrated and angry.
“We'll be lost forever if this goes through,” said Anthony McDaniel, Diddley's oldest son. “The fire sale of this would be a million-something for (Lewis and Fusillo), Mr. Stevens would get $400,000, and the family would get nothing after the taxes are paid.”
10 R&B hits between 1958 and 1963. 1996 Album “A Man Amongst Men” nominated for a Grammy. 1987: Inducted into the Rock and Roll Hall of Fame. 1998: Inducted into the National Academy of Recording Arts and Sciences Hall of Fame. Played at the inaugural balls of George H.W. Bush and Bill Clinton.
Bo Diddley's awards and honors
|
|||||
correct_death_00084
|
FactBench
|
1
| 43
|
https://www.surreynowleader.com/entertainment/throwbackthursday-that-time-bo-diddley-rocked-to-a-local-bands-backing-beat-2909535
|
en
|
#ThrowbackThursday: That time Bo Diddley rocked to a local band's backing beat
|
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2016-06-30T13:00:00+00:00
|
Death of rock 'n' roll icon in 2008 struck chord with Blue Voodoo
|
en
|
Surrey Now-Leader
|
https://www.surreynowleader.com/entertainment/throwbackthursday-that-time-bo-diddley-rocked-to-a-local-bands-backing-beat-2909535
|
The death of rock 'n' roll pioneer Bo Diddley in June of 2008 struck a chord close to home.
Members of local band The Blue Voodoo formed the musical backbone for Diddley during one of his last ever performances, in March 2007 at Mission's Clarke Theatre.
Two months later, Diddley suffered a stroke during a concert in Iowa. He later had a heart attack that ultimately led to his death of heart failure at his home in Archer, Florida. He was 79.
For the gig in Mission, White Rock-based concert promoter Rob Warwick, who runs Rock.It Boy Entertainment, hired members of the Blue Voodoo — Rick Dalgarno on guitar, Ted Tosoff on bass and their part-time bandmate Bryon Tosoff on keyboards — to back Diddley with the help of his touring drummer.
It was an unexpected but welcome opportunity for the local musicians.
"We actually went and bought his greatest-hits CD (in the days) prior to the show," Bryon Tosoff recalled at the time, "(and) we learned his most familiar songs.
"(We) worked with Sandy Gennaro, Bo's drummer, for about 45 minutes learning the format of what would happen during the show and what to expect. Basically it was a crash-course in Bo's show. We did not do any practice with Bo at all."
The band opened the show playing the familiar riff of "Bo Diddley" — the song that became his trademark in the 1950s — for a couple of minutes before the star walked on stage.
(SCROLL DOWN TO SEE VIDEO OF DIDDLEY PERFORMING THE SONG FOR 'LEGENDS OF ROCK 'N' ROLL DVD)
"The crowd went wild and it made your hair stand up on end," Tosoff said at the time. "It was a magical time for them and all of us indeed."
After the gig, the band members, along with Warwick, local guitar ace Jason Buie and others, enjoyed time talking with Diddley backstage and posing for photos.
"The man was very relaxed and easy to talk to," Tosoff said at the time, "just a man who knew how to connect with people with no airs whatsoever."
On stage, Diddley sat on a chair while playing guitar and singing. Backstage and around town, a lack of mobility forced him to use a wheelchair that Warwick had rented for him.
"It was pretty cool to work with a legend like that," Warwick said in 2008.
"It was a phenomenal show."
|
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correct_death_00084
|
FactBench
|
0
| 19
|
https://www.instagram.com/rudolfdethu/reel/C7ttGVpOhjs/
|
en
|
Instagram
|
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[
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correct_death_00084
|
FactBench
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0
| 81
|
https://www.delcotimes.com/2008/06/02/rock-pioneer-bo-diddley-dies-at-age-79/
|
en
|
Rock pioneer Bo Diddley dies at age 79
|
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2008-06-02T00:00:00
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JACKSONVILLE, Fla. — Bo Diddley, a founding father of rock ‘n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79.Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He […]
|
en
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Delco Times
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https://www.delcotimes.com/2008/06/02/rock-pioneer-bo-diddley-dies-at-age-79/
|
Deadlines:
Monday-Friday 8:30am-4:00pm, Call 610-915-2226
(Proofs will be provided for accuracy only, they will not be styled/formatted like the finished product)
Obituaries submitted on Saturday, Sunday and Holidays are accepted from 8:30 a.m. to 3:00 p.m. by email only Obit@delcotimes.com
(No proofs will be furnished. Pricing will not be available until the next business day after 10:00am by calling Dianne at 610-915-2226)
Obituaries received after Deadline will not be published in the following edition of the paper.
Sending Procedure:
Email is the preferable method for receiving Obituaries (and the only method on Saturday, Sunday and Holidays), they can be sent to Obit@delcotimes.com (Feel free to call and confirm that we’ve received the email)
Formatting:
Obituaries will continue to visually look the same as they currently do, but you will no longer be restricted in what you can say (ex. As much Family can be listed as you’d like; Wording like “Went to rest with the Lord” is now permissible)
Other:
There is a cost for each obituary. Pricing and payments are only available Monday through Friday, 8:30 am to 4:00 pm. All weekend and holiday submissions will be provided a cost the next business day.
Exceptions:
All New accounts, Out of State Funeral Homes and Private Parties will require prepayment upon approval of the obituary. Weekend and Holiday staff are not authorized to set up a new account or process payments
Deadline for the above is before 4:00 PM Mon – Fri. only (Holiday schedules may vary).
Prepayment required submissions will be handled on the very first business day following the weekend and/or holiday schedule. A complete name, address and best contact phone number are required upon submittal of your obituary request to set up your account. A proof will then be emailed for review but placed on hold until payment is received.
JACKSONVILLE, Fla. — Bo Diddley, a founding father of rock ‘n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation.
The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood’s Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton.
Diddley appreciated the honors he received, “but it didn’t put no figures in my checkbook.”
“If you ain’t got no money, ain’t nobody calls you honey,” he quipped.
The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview.
“I don’t know where the kids got it, but the kids in grammar school gave me that name,” he said, adding that he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow.
His first single, “Bo Diddley,” introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as “shave and a haircut, two bits.” The B side, “I’m a Man,” with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars.
Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley’s Chess recordings “stand among the best singular recordings of the 20th century.”
Diddley’s other major songs included, “Say Man,” “You Can’t Judge a Book by Its Cover,” “Shave and a Haircut,” “Uncle John,” “Who Do You Love?” and “The Mule.”
Diddley’s influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song “Not Fade Away.”
The Rolling Stones’ bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of “I’m a Man.”
Diddley was also one of the pioneers of the electric guitar, adding reverb and tremelo effects. He even rigged some of his guitars himself.
“He treats it like it was a drum, very rhythmic,” E. Michael Harrington, professor of music theory and composition at Belmont University in Nashville, Tenn., said in 2006.
Many other artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley’s style.
Growing up, Diddley said he had no musical idols, and he wasn’t entirely pleased that others drew on his innovations.
“I don’t like to copy anybody. Everybody tries to do what I do, update it,” he said. “I don’t have any idols I copied after.”
“They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there,” he said.
Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida.
“Seventy ain’t nothing but a damn number,” he told The Associated Press in 1999. “I’m writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain’t quit yet.”
Diddley, like other artists of his generations, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances.
“I am owed. I’ve never got paid,” he said. “A dude with a pencil is worse than a cat with a machine gun.”
In the early 1950s, Diddley said, disc jockeys called his type of music, “Jungle Music.” It was Cleveland disc jockey Alan Freed who is credited with inventing the term “rock ‘n’ roll.”
Diddley said Freed was talking about him, when he introduced him, saying, “Here is a man with an original sound, who is going to rock and roll you right out of your seat.”
Diddley won attention from a new generation in 1989 when he took part in the “Bo Knows” ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson’s guitar skills, Diddley turned to the camera and said, “He don’t know Diddley.”
“I never could figure out what it had to do with shoes, but it worked,” Diddley said. “I got into a lot of new front rooms on the tube.”
Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother’s cousin and took on the name Ellis McDaniel, which his wife always called him.
When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners.
By his early teens, Diddley was playing Chicago’s Maxwell Street.
“I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don’t have the same impact that I had,” he said.
Originally Published: June 2, 2008 at 4:34 a.m.
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Bo Diddley R.I.P.
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The South has lost a cultural icon with rock star Bo Diddley's death today from heart failure at his home in Archer, Fla. He was 79.
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/themes/custom/facingsouth/favicon.ico
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https://www.facingsouth.org/2008/06/bo-diddley-rip.html
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The South has lost a cultural icon with rock star Bo Diddley's death today from heart failure at his home in Archer, Fla. He was 79.
Born Ellas Bates in McComb, Miss. in 1928, he later took the last name McDaniel for the relative who reared him. His family moved to Chicago when he was seven, and it was there that he became a musician -- first studying violin but later taking up guitar after seeing a performance by blues legend John Lee Hooker.
He once told an interviewer that he was given the nickname "Bo Diddley" by other children in Chicago. The name is a play on "diddley bow," a simple stringed instrument that originated in Africa and was brought to America by slaves.
He became famous for a distinctive strumming rhythm that became known as the "Bo Diddley beat" -- bomp ba-bomp bomp, bomp bomp. He was also known for his box-bodied guitar, reputedly developed after an unfortunate stage injury involving a more traditionally shaped electric guitar.
Early on Diddley developed a reputation as a rebel. Appearing on The Ed Sullivan Show in 1955, he was asked to play Tennessee Ernie Ford's hit "Sixteen Tons" but instead played "Bo Diddley" -- and was consequently banned from the show. He also bucked tradition by including women in his band, among them Peggy "Lady Bo" Jones and Norma-Jean Wofford, better known as The Duchess.
Like too many African-American artists of his generation, he got only a small portion of the money he made during his career, earning a flat fee for his recordings with no royalty payments. He also claims he was not compensated for many live performances.
"I am owed," he once said. "A dude with a pencil is worse than a cat with a machine gun."
Diddley earned numerous accolades, having been inducted into the Rock and Roll Hall of Fame, the Rockabilly Hall of Fame, the Grammy Hall of Fame, the Mississippi Musicians Hall of Fame, and the North Florida Music Association's Hall of Fame. He was also the recipient of a Grammy Lifetime Achievement Award, the BMI Icon Award, and the Pioneer in Entertainment Award from the National Association of Black Owned Broadcasters.
In 2006, Diddley took part in a fundraising concert in the Florida Keys for the Mississippi town of Ocean Springs, which was devastated by Hurricane Katrina. "This is the United States of America," he said at the time. "We believe in helping one another."
(Photo by Caroline Torterat from the Big Blues Festival in Remich, Luxembourg in June 2002 courtesy of Bo Diddley's Web site)
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https://archive.org/stream/KSULKSColl197374V80N7195/KSUL_KS%2520Coll_1973-74_v80_n71-95_djvu.txt
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Kansas State collegian : Free Download, Borrow, and Streaming : Internet Archive
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https://archive.org/services/img/KSULKSColl197374V80N7195
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https://archive.org/services/img/KSULKSColl197374V80N7195
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Published as: Students’ herald, Vol. 1, no. 1 (Jan. 8, 1896)-v.18, no. 48 (Mar. 26, 1913); Kansas aggie, Vol., 18, no. 49 (Apr. 2, 1913)-v. 19, no. 54 (Apr....
|
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Internet Archive
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https://archive.org/details/KSULKSColl197374V80N7195
|
Search the history of over 866 billion web pages on the Internet.
Search the Wayback Machine
Search icon An illustration of a magnifying glass.
Save Page Now
Capture a web page as it appears now for use as a trusted citation in the future.
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https://www.facebook.com/BoDiddleyOfficial/
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Facebook
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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https://www.facebook.com/login/
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https://mississippiencyclopedia.org/entries/bo-diddley/
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en
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Bo Diddley, Otha Ellas Bates
|
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2017-07-10T19:01:26+00:00
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Combining R&B and blues with eccentric onstage performances, Bo Diddley is often considered one of the pioneers of rock and roll music. Otha Ellas Bates was born on 30 December 1928, in McComb. He never knew his father, Eugene Bates; his mother, Ethel Wilson, was only fifteen or sixteen years old when Ellas was born. […]
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Mississippi Encyclopedia
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https://mississippiencyclopedia.org/entries/bo-diddley/
|
Combining R&B and blues with eccentric onstage performances, Bo Diddley is often considered one of the pioneers of rock and roll music. Otha Ellas Bates was born on 30 December 1928, in McComb. He never knew his father, Eugene Bates; his mother, Ethel Wilson, was only fifteen or sixteen years old when Ellas was born. Ethel’s first cousin, Gussie McDaniel, raised him while the family tried to make a living as sharecroppers. In 1934, in the midst of the Great Depression, they moved to Chicago, where Bates started to develop an interest in music. His first instrument was a violin, and he took lessons from classical teacher O. W. Frederick. He also taught himself to play the drums and the trombone.
At age twelve Bates received his first guitar, a Christmas present from his stepsister, Lucille McDaniel. John Lee Hooker had already become one of his heroes, and Bates wanted to play just like him. But he had trouble strumming the guitar: “I couldn’t play the guitar like everyone else,” Diddley later recalled. “Guitarists have skinny fingers. I didn’t. I play drum licks on the guitar.” This music style evolved into the distinctive “shave and a haircut, two bits” rhythm that characterized most of his repertoire.
Bates probably started to use the name Bo Diddley around 1940, though its origins are uncertain: it might have been a nickname acquired during his brief boxing career, or it might refer to a harmonica player he saw in Mississippi or to a southern folk instrument known as the diddley bow. Not even Diddley knew the origins of his stage name, recalling only that “the kids gave me that name when I was in grammar school in Chicago.”
While he was still in high school, Diddley formed his first band, the Hipsters. The group, which later changed its name to the Langley Avenue Jive Cats, performed on Chicago’s street corners and clubs. In 1955 Diddley cut a demo of two of songs, “Uncle John” and “I’m a Man,” and took it to Chess Records, one of Chicago’s preeminent blues labels. Leonard and Phil Chess liked the music but did not appreciate the lyrics of “Uncle John,” which they viewed as derogatory to blacks. They suggested that Diddley change the words, which he did. The song “Bo Diddley” was born, and it reached the top of the R&B charts when it was released as a single in 1955. The rhumba-like beat was trademark Bo Diddley. “When I used to walk from spot to spot looking for work, everybody played like T-Bone Walker and those cats, so I tried something different,” Diddley explained.
Other hits followed, among them “Diddley Daddy” and “You Can’t Judge a Book by Its Cover.” Diddley rocked the stage with his peculiar moves, flamboyant suits, and his square guitars, which he made himself. The Beatles, the Rolling Stones, and other British bands were influenced by his music, and the Animals celebrated him in their song “The Story of Bo Diddley,” calling him “the rock ’n’ roll senior general.” Later artists such as Bruce Springsteen and U2 also found inspiration in Diddley’s songs, but by the time these artists became popular, his fame had waned considerably. He reached the zenith of his career during the 1950s and early 1960s.
Diddley believed that his impact on the development of rock and roll had been underestimated. “What gets me is when white brothers started playing guitars and sounding like us, and folks said that Elvis started rock ’n’ roll,” he said. “Well, let me tell you Elvis ain’t started a damn thing. I love what he did. But he came three years after me. I was already breaking records at the Apollo Theater.”
During the 1970s, when his career was on a downhill slope, Diddley went to New Mexico, where he served for a time as a deputy sheriff. In 1987, the same year he was inducted into the Rock and Roll Hall of Fame, he moved to the Gainesville, Florida, area. Around that time, his popularity again started to rise. Diddley performed at the inaugurations of Presidents George H. W. Bush and Bill Clinton, and Diddley’s 1996 album A Man amongst Men, which featured renowned musicians including Jimmie Vaughan and Keith Richards, received a Grammy Award nomination. Still, the bitterness remained. “When kids hear me play now they say, ‘Hey, you sound like so-and-so.’ Wow, that’s an insult; it’s degrading. They don’t know I started the sound and the so-and-so’s copied me,” Diddley explained. “When I hear that, it’s a bad feeling, a hurting feeling. I ask myself why I’m still out here performing when all that has happened is that I’ve been forgotten.”
Bo Diddley died in Florida in 2008.
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Bo Diddley Jr. Passes
|
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Sad note.
Wanted to comment on cause of his death -- complications from diabetes.
Folks, diabetes is becoming, if not already is, an epidemic in this country.
Much of it preventable because it is caused, in large part, by our
insanely gross overconsumption of sugar and corn syrup in our diets --
and of other "simple" carbs that convert way too easily into glucose and
raise our blood sugar to levels the human body is not designed to absorb.
And I say this as someone who was recently informed by his doctor that
my blood sugar levels had been spiking to near-diabetic (pre-diabetic)
levels -- said to be from eating too much of the wrong stuff and
compounded by not getting enough exercise. Scared the crap out of me,
and hopefully spurring me to make changes!!
I'm not posting the above with specific regard to the late Mr. Hill or
his condition. But just as a healthy reminder to us all.
Frankly, folks, if we the American public do not start taking better
care of ourselves in terms of eating and exercise and other lifestyle
choices, then frankly our society is going to be bankrupted by health
care costs, no matter who is paying for it (i.e., whether individuals,
insurance companies, employers, or Uncle Sam pays!). Serious. This
stuff REALLY gives me the blues when I think about it!!
--Steve Hoffman
Myself and about a hundred others (maybe 200 others) were fortunete
enough to see Bo Diddley Jr. in Columbus just over 5 years ago. It
was a marketing stroke of genius by our own Sean Carney (but we expect
no less from Sean). What I recall most from that night was that there
were a bunch of women in the club (Blues Station in DT C-bus) for
someone's birthday party and Bo Diddley Jr. was playing to them,
saying into his mic numerous times, "It's my birthday too" (lol). I
believe a handful of us CBA (East) officers hung out with Bo at one of
our officers homes after the gig till almost sunrise listening to Bo
tell us stories.
As for diabetes, I know its bad. I have to keep it in the back of my
mind with one uncle already passed away, earlier this decade, due to
non-treatment of it, and my father on treatment for diabetes (and one
younger brother scared enough that he changed his diet due to the
potential of having this disease).
In Louisiana, we call it "The Sugar." I know I've spoken to several
of you fellow Blues-Lers about the health of one musician in Opolupus
who has already had both legs amputated in the last 18 months due to
diabettes. Our bass player for the houseband @ Teddy's Juke Joint is
supposed to be on a diet for his diabettes and laments about his feet
bothering him if he has to stand too long (be it @ Teddy's w/Selwyn
Cooper or on the road w/Rockin' Dopsie Jr).
I've been told (but unable to substantiate) that many of the musicians
in Acadiana have some form of diabetes. At least once a week I
see/hear a story about the "health crisis" here in Louisiana. Most of
which I would say has been brought upon ourselves due to ingrained
(family) traditions and lack of trust of outsiders (re: experts).
You want to help one another, but you can't wait till its too late.
Sandor
On Thu, Oct 29, 2009 at 12:57 AM, Steve Hoffman
<steveh...@starpower.net> wrote:
> Sad note.
>
> Wanted to comment on cause of his death -- complications from diabetes.
>
> Folks, diabetes is becoming, if not already is, an epidemic in this country.
>
> Much of it preventable because it is caused, in large part, by our insanely
> gross overconsumption of sugar and corn syrup in our diets -- and of other
> "simple" carbs that convert way too easily into glucose and raise our blood
> sugar to levels the human body is not designed to absorb.
>
> And I say this as someone who was recently informed by his doctor that my
> blood sugar levels had been spiking to near-diabetic (pre-diabetic) levels
> -- said to be from eating too much of the wrong stuff and compounded by not
> getting enough exercise. �Scared the crap out of me, and hopefully spurring
> me to make changes!!
>
> I'm not posting the above with specific regard to the late Mr. Hill or his
> condition. �But just as a healthy reminder to us all.
>
> Frankly, folks, if we the American public do not start taking better care of
> ourselves in terms of eating and exercise and other lifestyle choices, then
> frankly our society is going to be bankrupted by health care costs, no
> matter who is paying for it (i.e., whether individuals, insurance companies,
> employers, or Uncle Sam pays!). �Serious. �This stuff REALLY gives me the
> blues when I think about it!!
>
> --Steve Hoffman
>
> George Willett wrote:
>>
>> We received word this morning that David Hill, better know as �Bo Diddly
>> Jr�
>> passed away last night at Habana Healthcare in Tampa, FL. �He had his
>> second
>> leg amputated last week due to complications from diabetes. �Here�s a link
>> to Bo jamming with Damon Fowler.
>>
>>
>>
>> http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=9168289
>>
>> George
--
Sandor Gulyas
M.A. Geography - Louisiana State Univ. '08
B.A. Geography - Ohio State Univ. '02
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Sid Jacobson
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(* 1929) war der Chefredakteur von Harvey Comics und Schöpfer der Comicfiguren Richie Rich, Hot Stuff und Casper. Später wurde er Chefredakteur bei Marvel Comics. Zusammen mit Ernie Colón schuf er im August 2006 eine Comic Version des 9/11…
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Academic dictionaries and encyclopedias
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https://de-academic.com/dic.nsf/dewiki/2583068
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Jacobson — (patronymisch gebildeter Familienname, „Sohn des Jacob“) ist der Name folgender Personen: Anders Jacobson (* 1984), schwedischer Handballspieler Arthur Jacobson (1901–1993), US amerikanischer Regieassistent Ben Jacobson (* 1983), US… … Deutsch Wikipedia
Sid Couchey — (May 24, 1919 ndash; ) is an American cartoonist best known for his illustration work on the Harvey Comics characters Richie Rich, Little Lotta and Little Dot. His style is known for big, friendly faces and a sharp sense of visual humor.… … Wikipedia
Emily Jacobson — Medal record Competitor for United States Pan American Games Bronze 2003 Dominican Republic Individual Sabre … Wikipedia
Norm Jacobson — Playing information Position Three quarter Club Years Team Pld T G … Wikipedia
Sada Jacobson — (born February 14, 1983 in Dunwoody, Georgia) is an American fencer. She is the 2008 Olympic Individual Sabre silver medalist and 2004 Olympic Individual Sabre bronze medalist. BiographyJacobson is a daughter of David Jacobson, a member of the… … Wikipedia
Gary Jacobson — Gary C. Jacobson is a Professor of Politics and the Director of Undergraduate Studies at the University of California, San Diego, where he has been since 1979.He was born in Santa Ana and raised in the Los Angeles area, graduating from Culver… … Wikipedia
1958 in music — Events*January 28 Little Richard begins attending classes at Oakwood College in Huntsville, Alabama *January 29 Bo Diddley records Say Man , a #3 R B hit when it is released in the Fall of 1959. *February 14 The Iranian government bans rock roll… … Wikipedia
9/11 Commission Report — 9/11 Commission Report, formally named Final Report of the National Commission on Terrorist Attacks Upon the United States, is the official report of the events leading up to the September 11, 2001 attacks. It was prepared by the National… … Wikipedia
Warren Kremer — (June 26, 1921 ndash; July 24, 2003) was an American comics writer and artist best known for his creation of the Harvey Comics characters Richie Rich, Hot Stuff the Little Devil and Stumbo the Giant. His style is known for big, bold compositions … Wikipedia
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http://www.liquidbluesbar.com/site/news/diddley.htm
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Thank you for subscribing to the Liquid Blues' news and promotions email.
You can opt out at any time by replying to this email with the
words "opt out", "cancel", or "remove".
Shizam – Holy Cow – Whoope – Yippy Kay Yay – Huba Huba – Yowza and Shazbot – It’s almost here!
This Saturday, May 15th, SPRING JAM!!!
10 Bands 2 Stages – Need we say more?
Starts at 6:00 – No admission.
Food and Drink Specials!
Don’t Miss It!
This Sunday Come to the Square for FAIR DIDDLEY -
– Then come to Liquid Blues for --- BO DIDDLEY Day… or you ain’t worth diddley.
Bo Diddley (December 30, 1928 – June 2, 2008) is the stage name for Ellas Otha Bates, an American rock and roll vocalist, guitarist, songwriter, and inventor. He was known as "The Originator" because of his key role in the transition from the blues to rock & roll, influencing a host of legendary acts including Buddy Holly, Jimi Hendrix, The Rolling Stones, and Eric Clapton. He introduced more insistent, driving rhythms and a hard-edged guitar sound on a wide-ranging catalog of songs. Accordingly, he was inducted into the Rock and Roll Hall of Fame and received Lifetime Achievement Awards from the Rhythm and Blues Foundation and a Grammy Award from the National Academy of Recording Arts and Sciences. He was known in particular for his technical innovations, including his trademark rectangular guitar.
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 the days following the death of Bo Diddley, tributes were paid to him by George W. Bush, the United States House of Representatives, and an uncounted number of musicians and performers, including Eric Burdon, Elvis Costello, Ronnie Hawkins, Mick Jagger, B. B. King, Tom Petty, Robert Plant, Bonnie Raitt, George Thorogood. Robert Randolph and the Family Band and Ronnie Wood. He was posthumously awarded a Doctor of Fine Arts degree by the University of Florida for his influence on American popular music and in its "People in America" radio series about influential people in American history, the Voice of America radio service paid tribute to him, describing how "his influence was so widespread that it is hard to imagine what rock and roll would have sounded like without him." Mick Jagger stated that "he was a wonderful, original musician who was an enormous force in music and was a big influence on The Rolling Stones. He was very generous to us in our early years and we learned a lot from him." Jagger also praised the late star as a one of a kind musician, adding, "We will never see his like again. As his bass player Debby Hastings said: he was the rock that the roll was built on."
Maxwell Street was the home of Bo Diddley, Junior Wells, Little Walter, Uncle Johnnie Williams, Big Bill Broonzy, Papa Charlie Jackson, Arthur Crudup, Hound Dog Taylor, One-Armed John Wrencher, One-legged Sam, Snooky Prior, Sonnyboy Williamson, Muddy Waters, Howlin’ Wolf and countless blues legends who paved the way for supergroups like The Rolling Stones, Led Zeppelin and Cream.
A Maxwell Street Polish consists of a grilled or fried sausage topped with grilled onions and yellow mustard and optional sport peppers, on a bun. The sausage, a cross between Polish kielbasa and a natural-casing hot dog, is typically spicier than either and usually made from beef and pork. The meal traces its origins to Chicago's Maxwell Street market, and has been called "[one of] the classic foods synonymous with Chicago".
The Maxwell Street Polish soon grew to be one of Chicago's most celebrated and recognized native dishes, along with the Chicago hot-dog and Italian Beef..
An Italian beef is a sandwich of thin slices of seasoned roast beef, dripping with meat juices, on a dense, long Italian-style roll, believed to have originated in Chicago, where its history dates back at least to the 1930s.[1] The bread itself is often dipped (or double-dipped) into the juices the meat is cooked in, and the sandwich is typically topped off with Chicago-style giardiniera (called "hot") or sauteed, green Italian sweet peppers (called "sweet").
Check your email for a coupon for a free Chicago Maxwell Street POLISH or ITALIAN BEEF.
ALSO ON SUNDAY:
TRIVIA QUESTION:
"Not Fade Away" is a song credited to Buddy Holly (originally under his first and middle names, Charles Hardin) and Norman Petty (although Petty's co-writing credit is most likely a formality)and first recorded by Holly's band The Crickets in Clovis, New Mexico, on May 29, 1957. The song's rhythm pattern is one of the classic examples of the Bo Diddley beat, which itself was an update of the so-called "hambone" rhythm, or "patted juba" from Western Africa; Crickets drummer Jerry Allison pounded out the beat on a cardboard box. The only other person on the recording was rhythm guitarist Nikki Sullivan, who didn't play but simply chanted, along with Holly and Allison, the song's overdubbed background vocals.
Here are 4 interesting bits of trivia concerning “Not Fade Away”.
1.When the Rolling Stones gave the song the full-on Bo treatment (complete with shaking maracas), the result was their first big British hit - (#3) released on Feb. 21, 1964.
2.It was the A side on the first Rolling Stones U.S. release.
3.It’s been performed 530 times by the Grateful Dead (their 7th most performed song).
4.Be the first to correctly tell the bartender the last interesting fact (the one I’m thinking of) and receive a FREE appetizer from "FRIED OUT IN THE BASEMENT" on our menu.
DON’T FORGET!:
Every Wednesday OPEN JAM! And HIPPY CUSINE NIGHT featuring unique retro fare reminiscent of the 60's such as falafels, humus(the dippy part), pitas, and unusual (not your usual) salads.
This event will regularly occur every Wednesday night in conjunction with our blues, classic rock, bluegrass (and Sitar) Open Jam.
Pictures from last week’s open jam.
DID YOU KNOW?:
The Obamas' dog, Bo, is also said to be named after Bo Diddley.
FINALLY:
|
|||||||
correct_death_00084
|
FactBench
|
0
| 97
|
https://www.rrstar.com/story/news/2008/06/02/rock-pioneer-bo-diddley-dies/44561595007/
|
en
|
Rock pioneer Bo Diddley dies at age 79
|
[
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[
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[
"Staff , Rockford Register Star"
] |
2008-06-02T00:00:00
|
Bo Diddley, a founding father of rock ‘n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died today after months of i…
|
en
|
Rockford Register Star
|
https://www.rrstar.com/story/news/2008/06/02/rock-pioneer-bo-diddley-dies/44561595007/
|
Bo Diddley, a founding father of rock ‘n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died today after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation.
The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood’s Walk of Fame and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years, he also played for the elder President Bush and President Clinton.
Diddley appreciated the honors he received, “but it didn’t put no figures in my checkbook.”
“If you ain’t got no money, ain’t nobody calls you honey,” he quipped.
The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview.
“I don’t know where the kids got it, but the kids in grammar school gave me that name,” he said, adding that he liked it, so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow.
His first single, “Bo Diddley,” introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as “shave and a haircut, two bits.” The B side, “I’m a Man,” with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based label that also recorded Chuck Berry and other stars.
Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley’s Chess recordings “stand among the best singular recordings of the 20th century.”
Diddley’s other major songs included, “Say Man,” “You Can’t Judge a Book by Its Cover,” “Shave and a Haircut,” “Uncle John,” “Who Do You Love?” and “The Mule.”
Diddley’s influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song “Not Fade Away.”
The Rolling Stones’ bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of “I’m a Man.”
Diddley was also one of the pioneers of the electric guitar, adding reverb and tremolo effects. He even rigged some of his guitars himself.
“He treats it like it was a drum, very rhythmic,” E. Michael Harrington, professor of music theory and composition at Belmont University in Nashville, Tenn., said in 2006.
Many other artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley’s style.
Growing up, Diddley said he had no musical idols, and he wasn’t entirely pleased that others drew on his innovations.
“I don’t like to copy anybody. Everybody tries to do what I do, update it,” he said. “I don’t have any idols I copied after.
“They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there,” he said.
Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida.
“Seventy ain’t nothing but a damn number,” he told The Associated Press in 1999. “I’m writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain’t quit yet.”
Diddley, like other artists of his generation, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances.
“I am owed. I’ve never got paid,” he said. “A dude with a pencil is worse than a cat with a machine gun.”
In the early 1950s, Diddley said, disc jockeys called his type of music “Jungle Music.” It was Cleveland disc jockey Alan Freed who is credited with inventing the term “rock ‘n’ roll.”
Diddley said Freed was talking about him, when he introduced him, saying, “Here is a man with an original sound, who is going to rock and roll you right out of your seat.”
Diddley won attention from a new generation in 1989 when he took part in the “Bo Knows” ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson’s guitar skills, Diddley turned to the camera and said, “He don’t know Diddley.”
“I never could figure out what it had to do with shoes, but it worked,” Diddley said. “I got into a lot of new front rooms on the tube.”
Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother’s cousin and took on the name Ellis McDaniel, which his wife always called him.
When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners.
By his early teens, Diddley was playing Chicago’s Maxwell Street.
“I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don’t have the same impact that I had,” he said.
|
|||||
correct_death_00084
|
FactBench
|
0
| 78
|
https://www.wefunkradio.com/song/play/979_au/bo%2Bdiddley/bad%2Bside%2Bof%2Bthe%2Bmoon
|
en
|
"Bad Side Of The Moon" by Bo Diddley
|
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“Bad Side Of The Moon” by Bo Diddley | Enjoy the finest hip hop, funk & soul at WEFUNK
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WEFUNK Radio
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https://www.wefunkradio.com/song/play/979_au/bo+diddley/bad+side+of+the+moon
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correct_death_00084
|
FactBench
|
1
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https://www.minnpost.com/community-voices/2009/06/year-after-his-death-remembering-bo-diddley/
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en
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A year after his death, remembering Bo Diddley
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[
""
] | null |
[
"Barbara Tuttle",
"Mohamed Ibrahim",
"Ana Radelat",
"Peter Callaghan",
"Ava Kian",
"Winter Keefer",
"Deanna Pistono"
] |
2009-06-02T13:00:00+00:00
|
It was a small moment in my life in 1973. I don't often think about it, but when I do, I'm delighted all over again.
|
en
|
MinnPost
|
https://www.minnpost.com/community-voices/2009/06/year-after-his-death-remembering-bo-diddley/
|
REUTERS/Anthony P. Bolante
It was a small moment in my life in 1973. I don’t often think about it, but when I do, I’m delighted all over again. When I was 19 years old, on a balmy summer evening, in the empty parking lot of the Denver Coliseum, I met one of the inventors of rock and roll: Bo Diddley.
Only halfway through the conversation did I realize that I was talking to the man who took the “shave and a haircut, two bits” beat and wrangled it into rock and roll. That beat that underscored Buddy Holly’s “Not Fade Away,” covered by the Rolling Stones on their first album. This is what the Stones cut their teeth on before even thinking of writing a song of their own. Arguably, without Diddley, there would be no “Satisfaction.”
Bo Diddley died a year ago this Tuesday, June 2. He would have been 80 now.
The Beatles idolized him, and so did The Clash. They built their own legends on the foundation that Diddley helped lay. You can see/hear him in action here:
He preceded Elvis Presley, who ran away with the fame and the money, as did those stars of the British Invasion of the ’60s – all the cute white boys who introduced us American teens to our own indigenous music. Men like Bo Diddley and Muddy Waters made my generation’s heartthrobs possible, and we didn’t even know it.
Bo Diddley once said, “I was the one who opened the door for these guys, and then I was left holding the knob.” He’s right; he was overlooked. But that’s what gave me those 15 minutes with him in an empty parking lot in 1973. At that time, he was a deputy sheriff in a small town in New Mexico. But occasionally he’d play gigs, like this one at the Denver Coliseum, where he was probably considered a nostalgia act supporting some ’70s mega-band whose name I can’t remember.
Enjoying a summer evening
My friend Carol and I were there to leaflet the crowd, asking support for the United Farm Workers’ boycott of Gallo wine. After everyone had gone in, we were relaxing in the parking lot, enjoying the summer evening.
Over by the stage door, we noticed another person doing the same: a man dressed in black, leaning on a barricade, watching the sun sink toward the mountains. He called out a question: “What are you girls handing out?”
Eager for a convert, we handed him a leaflet and recounted the plight of migrant workers. He listened, and might have nodded, maybe arched an eyebrow. He radiated a quiet self-possession.
I asked, “Are you with one of the bands?” He answered, simply: “I’m Diddley.”
Wow.
Began in Chicago clubs
Fortunately, I knew that Bo Diddley was important. “How did you get your start in music?” I asked. He told us how he’d played in clubs as a kid in Chicago, when he was too young to be a customer. Then he had to go in, and we left.
The next day, Carol and I went to a record store to look at album covers that would show us whether that man was really who he said he was. Sure enough, he was Diddley.
I never could have orchestrated that moment. I was not a writer for Rolling Stone. I was just a girl who grew up with the transistor radio glued to my ear by day and tucked under my pillow at night. So this is the lucky charm I carry – to be remembered, again and again. If you know me at all, at some point I will grab your arm and gasp, I met Bo Diddley!
Barbara Tuttle, a freelance writer, lives in Minneapolis.
|
|||||
correct_death_00084
|
FactBench
|
1
| 18
|
https://study.com/academy/lesson/bo-diddley-biography-songs-death.html
|
en
|
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correct_death_00084
|
FactBench
|
3
| 17
|
https://www.seacoastonline.com/story/news/local/portsmouth-herald/2008/06/03/rock-legend-bo-diddley-79/52391316007/
|
en
|
Rock legend Bo Diddley, 79, dies
|
[
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[
"Staff , Portsmouth Herald"
] |
2008-06-03T00:00:00
|
JACKSONVILLE, Fla. (AP) — Bo Diddley's revolutionary approach to the guitar won him plenty of honors, reverent admirers and legions of fans: He was inducted into the Rock and Roll Hall of Fame while …
|
en
|
Portsmouth Herald
|
https://www.seacoastonline.com/story/news/local/portsmouth-herald/2008/06/03/rock-legend-bo-diddley-79/52391316007/
|
JACKSONVILLE, Fla. (AP) — Bo Diddley's revolutionary approach to the guitar won him plenty of honors, reverent admirers and legions of fans: He was inducted into the Rock and Roll Hall of Fame while superstar acts like Bruce Springsteen and the Rolling Stones paid him homage.
But while Diddley was rich with accolades, the entertainer always lamented that he never earned true riches in music, even though his "shave and a haircut, two bits" rhythm and groundbreaking guitar effects changed the course of rock history.
"I am owed. I've never got paid," he said. "A dude with a pencil is worse than a cat with a machine gun."
Diddley, one of the founding fathers of rock 'n' roll, died Monday at 79 of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he returned to Florida to continue rehabilitation.
"Bo Diddley was a music pioneer and legend with a unique style," legendary blues entertainer B.B. King said in a statement. "He will truly be missed, but his legacy will live on forever."
The legendary singer and performer was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood's Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton.
Diddley appreciated the honors he received, "but it didn't put no figures in my checkbook."
"If you ain't got no money, ain't nobody calls you honey," he quipped.
Diddley, like other artists of his generations, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances. Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida.
"Seventy ain't nothing but a damn number," he told The Associated Press in 1999. "I'm writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain't quit yet."
The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview.
"I don't know where the kids got it, but the kids in grammar school gave me that name," said Diddley, who was born as Ellas Bates. Diddley said he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some says it's after a one-string instrument used in traditional blues music called a diddley bow.
His first single, "Bo Diddley," introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as "shave and a haircut, two bits." The B-side, "I'm a Man," with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars.
Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley's Chess recordings "stand among the best singular recordings of the 20th Century."
Diddley's other major songs included, "Say Man," "You Can't Judge a Book by Its Cover," "Shave and a Haircut," "Uncle John," "Who Do You Love?" and "The Mule."
Diddley's influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song "Not Fade Away."
The Rolling Stones' bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the United States with their version of "I'm a Man."
"He was a wonderful, original musician who was an enormous force in music and was a big influence on The Rolling Stones," Mick Jagger said in a statement. "He was very generous to us in our early years and we learned a lot from him. We will never see his like again."
Growing up, Diddley said he had no musical idols, and he wasn't entirely pleased that others drew on his innovations.
"I don't like to copy anybody. Everybody tries to do what I do, update it," he said. "I don't have any idols I copied after."
"They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there," he said.
In the early 1950s, Diddley said, disc jockeys called his type of music "jungle music." It was Cleveland disc jockey Alan Freed who is credited with inventing the term "rock 'n' roll."
Diddley said Freed was talking about him, when he introduced him, saying, "Here is a man with an original sound, who is going to rock and roll you right out of your seat."
Diddley won attention from a new generation in 1989 when he took part in the "Bo Knows" ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson's guitar skills, Bo Diddley turned to the camera and said, "He don't know Diddley."
"I never could figure out what it had to do with shoes, but it worked," Diddley said. "I got into a lot of new front rooms on the tube."
Diddley was born on Dec. 30, 1928, in McComb, Miss. and later adopted by his mother's cousin where he took on the name Ellas McDaniel, which his wife always called him.
When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at age 10 and entertained passers-by on street corners.
By his early teens, Diddley was playing Chicago's Maxwell Street.
"I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don't have the same impact that I had," he said.
|
|||||
correct_death_00084
|
FactBench
|
0
| 15
|
https://www.billboard.com/music/music-news/rock-legend-bo-diddley-dies-at-79-1045219/
|
en
|
Rock Legend Bo Diddley Dies At 79
|
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[
"Jonathan Cohen"
] |
2008-06-02T04:00:00+00:00
|
Rock legend Bo Diddley died this morning (June 2) of heart failure in Archer, Fla.
|
en
|
Billboard
|
https://www.billboard.com/music/music-news/rock-legend-bo-diddley-dies-at-79-1045219/
|
Rock legend Bo Diddley died this morning (June 2) of heart failure in Archer, Fla., according to his spokesperson. He was 79. Diddley suffered a stroke last spring and had a heart attack last August, from which he never fully recovered.
Since then, he was undergoing rehabilitation near his Florida home. A private wake will be held Friday (June 6), with a funeral service open to the public the following afternoon at 2 p.m. at Showers of Blessing Harvest Center in Gainesville, Fla. That evening, a Diddley memorial, featuring members of his touring band, will be held at the Martin Luther King, Jr. Multi-Purpose Center.
Diddley’s interment will be held Sunday and will be private.
Born Ellas Otha Bates McDaniel on Dec. 30, 1928, in McComb, Miss., Diddley holds the distinction of being the only musician in history to have a specific musical beat, or rhythmic pattern, named after him. The “Bo Diddley beat” blends equal parts rock’n’roll rhythm and gospel shout in its “bomp, ba-bomp-bomp, bomp-bomp” pattern, which became an enduring staple of popular music. His songs, a tasteful blend of blues and R&B elements, were among the earliest true rock’n’roll recordings.
Diddley was an early advocate of fuzzy, distorted guitar sounds. They perfectly complimented his frenetic songs, which played on a homemade square guitar while decked out in dark sunglasses and a black hat. Similarly, his rhythmic, boastful vocal style predated rap by several decades.
In his heyday in the ’50s, Diddley recorded such seminal rock songs as “I’m a Man,” “Who Do You Love?,” “Mona,” and “Road Runner,” all of which have since become essential learning material for rock and blues bands, and have been covered by countless leading artists.
Buddy Holly borrowed Diddley’s beat for his hit song “Not Fade Away,” and the Rolling Stones’ version of that song, with its unmistakable nod to Diddley, became the band’s first major British hit single.
In 1983, he had a memorable cameo as a pawn shop clerk in the comedy “Trading Places,” and in 1989, he was introduced to a new generation of fans when he appeared with sports star Bo Jackson in a humorous TV ad campaign for Nike athletic shoes.
Although Diddley toured regularly into his late 70s, his recorded output for the past 30-plus years has been sparse, save for a late ’80s live album with Rolling Stones guitarist Ronnie Wood.
Diddley is survived by his brother, the Reverend Kenneth Haynes of Biloxi, Miss.; his children, Evelyn Kelly, Ellas A. McDaniel, Tammi D. McDaniel and Terri Lynn Foster; 15 grandchildren, 15 great-grandchildren and three great-great-grandchildren.
Additional reporting by Steve Graybow.
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The Die of Death
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Read 88 reviews from the world’s largest community
for readers. Philip's adventures as the Devil's apprentice have changed him—in a good way. Although he m…
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https://www.goodreads.com/book/show/3764716-d-dens-terning
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May 6, 2023
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#1 The Devil's Apprentice - ★★★★★
#2 The Die of Death - ★★★★★
The Die of Death is the second book from The Great Devil War Series, written by Kenneth B. Andersen. If you have read my review of the first book, The Devil’s Apprentice, you would be familiar with Philip.
Philip is a good boy, but he ends up in Hell by mistake. And on top of that, he is chosen to be the Devil’s Apprentice. Even though he’s always be good, he is not good at being bad. A danger occurs in Hell and the Devil is dying. When Philip solves the mystery, he returns on Earth to continue his normal life.
But when the future of the underworld is threatened once again, they need Philip’s help. Death’s Die has been stolen, the one that decides when each person is going to die. Because of that, immortality is now spreading. Philip goes back to hell to solve the mystery, but during his adventures he discovers some horrible truths…
I really have no clue why it took me quite a long time to get to the second book, but I am so happy that I finally got to read it, and endeavour this story.
It is so unique and I am in love!
The chapters just flow through – even better than the first book – and within minutes you are captured in this world, full of good and evil, or decisions being made that question your moral time and time again, in a very understandable way for young adults as well.
The story of the Die of Death, and the scenes related to it were my favourite. I love what Kenneth created, and how Death rolls a dice at the beginning of each life, that determines how many years each person gets to live. I loved how everyone had their own hourglasses and the mysterious snake that guards them.
We get to see the Purgatory in this book too. Only for a moment, but it was wonderful to read about it. It reminded me so much of Dante’s inferno, and I loved it! There was also the theory of reincarnation, told by a dog – a scene that was quite powerful! We even got a glimpse of Heavan, a few mentions here and there, that made me want to know more.
I like Philip as a character, but Satina was my hero! She has the best comment on everything, and they make such a good team with Philip. Also – did you know Hell has its own newspaper? It’s called Hell Times! So cool!
I loved this book. I cherish it. And I can’t wait to see what happens next and I highly recommend it to you – especially this month, as it’s Spooky October already!
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January 5, 2020
Thanks to the author for providing me with a copy of this book in exchange for an honest review.
This series is such a unique book series. I remember writing the review for the first book and I was reminded a bit of Harry Potter, but then the dark version with demons and devils. I still feel that way, I also feel that the book is growing with Philip and the story gets a bit darker already. The book talks more about his personal life and his fear of losing loved ones.
A longer review can be found at BiteIntoBooks
A fun, fun series to read. Excellent writing, excellent world building. It all leaves no questions what so ever. The book has likable characters and adds new characters in this second book as well. I loved that the book took me on a trip exploring this other world even further and I can't wait what the third book has in store for me.
March 28, 2020
This was originally published as part of a blog tour over at my blog, The Grimoire Reliquary.
When I read The Devil’s Apprentice last year, I enjoyed it well enough, though I had a number of issues with some of the prose and saw the revelations coming from a mile away. How does its follow up compare? Read on to find out!
The Die of Death follows up six months after the conclusion of Apprentice. Philip has been marked by his time in Hell – no longer the angelic boy he used to be, our young protagonist has made some new friends. Prone to mischievous behaviour and white lies, Philip is having a grand old time.
That is, until he is struck by lightning and finds himself down the familiar steps to Hell. It’s not there that he’s destined to go, however – because Mortimer, cantankerous old personification of Death that he is, has work for Philip.*
What The Devil’s Apprentice did well, this continues to do in the same vein. A return to Hell makes for plenty of fun, blood-curdling moments but the exploration of both the domain of Death and of Purgatory made for welcome additions to the tapestry of the underworld, or the afterlife, or wot-have-it. The characters remain true to themselves, and all the old, well-established characters make a comeback. They bring with them old friendships and adversarial relations, new revelations of forgotten crimes.
Perhaps what I enjoyed more here than in the previous book of the series has to do with the twists and turns. In Apprentice none of the revelations towards the closing third of the novel surprised me. Die held a few surprises I did not see coming, along with the ones I inferred. It’s a slyer novel than the one before it – and that’s something I can appreciate.
Mortimer, especially – old Death himself started off as someone I disliked and his standing with me only grew worse. Andersen, bless his talented writerly heart, turned it around!
Philip is more interesting by far in this one. The story flows better, the dialogue and prose are stronger. You will be surprised. This one does plenty right, and I’m happy to recommend it to people who enjoyed the previous one and to those who, like me, were on the fence at the prospect of reading the follow-up to the previous one.
My score for The Die of Death is a 4 out of 5 stars. It’s a fun second chapter, and I enjoyed it, and that’s all that matters.
*Writing a variation of my name this many times makes me a touch more megalomaniacal than usual.
I’m not sure I’ll pick the next one up anytime soon – there’s another blog tour a little while from now, but I’ll admit to some reluctance on my part about participating. A case of oversaturation, perhaps.
February 28, 2020
I’ll try to write this review without just gushing and saying “read it”… But, you need to read this series! I honestly feel like it could be the next Harry Potter!!….Dark Harry Potter?? Ok, honestly I hate comparing it like this, because I like this so much better! I know… Sacrilege. You’d get what I mean if you read it.. And, have a bit of a dark side.
The life lessons in this novel, and I do mean that literally. There are so many questions: “Is Death pre-determined?” “What is a Fate worse than Death?”, “What would you give up for someone you Love?”…. Better question “Who do you Love?” (I hope you’re all hearing the Bo Diddley song from the La Bamba Soundtrack. Because, I know I am.
I loved that this series has been so cohesive, insightful, and full of really smart mythology. The best fiction is based in truth, and I really feel that Kenneth B Andersen realizes that. You can really tell he’s put a lot of thought into the areas of Hell, who would be in them, and how they would best suffer….Ok. I just realized how that may sound. But, It’s a wonderful mystery that really gets you thinking and feeling.
I think that anyone would love this book and this series. But, I’ll focus on any fans of (dare I say) Harry Potter, and any fans of Piers Anthony’s “Incarnations of Immortality”
January 27, 2020
First off, don’t let the title of this book fool you. Although Death is indeed a physical, human-like being in the story, it isn’t actually about him dying like you might at first assume by the title. Death, the creepy old man that he is, rolls dice with another HUGE player in the game of life and afterlife, to determine the life-span of humans. I know, crafty, right?! I thought that aspect was pretty cool myself!
The character of Death was introduced in Book 1 of the series, of course, and continues to maintain a huge ‘roll’ in the Great Devil War tale as a whole… as he should be!
In The Die of Death, his die has been stolen!! *gasp* Who would do such a thing?! Thus is the mystery of this installment of the series. Phillip is the young boy who was meant to be the Devil’s accessor in book one -by mistake, mind you- but who solved the conundrum of the Devil knocking on Death’s door rather than assuming his role in the underworld. In book two, Phillip has been brought back to hell in order to help Death out in solving this new mystery. He makes a deal with Death, that he will do his best in finding the culprit and returning his die for an exchange of ONE roll. Phillip wants very badly to extend the life of his dying mother on earth. She’s very sick and is running out of time.
While he’s in Hell, for the second go around, many things have changed, yet many things remain the same. Hell is still it’s devastating self, full of monsters, evil doers, the torturing of the condemned all around, AND bonding friendships oddly enough. Satina, the tempter/mini-devil who’s also Phillip’s bestie/crush, was waiting for Phillip at the gate. She brings Phillip to Death’s house, where the two are introduced to his basement.
This dark and creepy place holds the hour glasses of time for each and every human, the sand within reveals their most important memories, along with the way they die. Yet, because of the missing Dice all humans born during its absence are stuck in a strange state of immortality. They can’t die, if Death cannot play his part in their predetermined game of life-span dice rolling. These humans have an hourglass that is tipped on its side. Once Phillip makes his agreement with Death, he begins the grueling task of searching for clues. What he and Satina uncover, one step at a time is shocking!
I really enjoyed every single page of this book. It’s written very well, and it reads in a fun lighthearted way. At one point, Phillip even goes to devil school with Satina, where all the little devils are itching to tourture him in one way or another. He isn’t like them, he’s more of an angel, so naturally they’re at odds. They get the admiration of him out the way quick, because he did save them from the worst young devil of all in the first book. After that, the trickery and evil doings begin. That’s kind of a fun journey inside of Phillip’s bigger mission.
At another point in the book, Phillip is tricked by another condemned soul that had escaped years before, yet comes back to try and luer Phillip out of hell. He makes Phillip believe that he’s his father and he’s come to take him to Heaven where he belongs. Who this soul actually is, is a shocker too!
By breaking back into Hell, and trying to get Phillip away from solving the mystery he actually winds up giving Phillip and Satina just the clue they’ve been looking for! Hands down five stars AGAIN. Kudo’s Kenneth, you’ve created quite the world, here in Hell. As well as all the places beyond Hell for that matter! I’m looking forward to reading the rest of the series!
April 8, 2020
The Die Of Death, by Kenneth B Andersen is a fantastic and fun sequel to The Devil’s Apprentice! This book is full of brilliant world-building, interesting characters and fun twists that keep you thoroughly entertained.
Synopsis: Philip’s days in Hell have changed him for the better, he now has friends to spend his time with and no longer follows every single rule applied to him. But, Philip misses his friends in Hell, though he may see them sooner than he thinks. When Death discovers an important item of his has been stolen he realises the future of the underworld is in danger, and Death needs Philip’s help to set things right again. As Philip helps to save the underworld again, he also comes across a shocking truth about his own life. Can Philip save the future of the underworld again? And can he cope with the newly revealed truths of his own life?
This review may contain spoilers for the first book in the series, review here: The Devil’s Apprentice.
— Light, Comical, Direct But Balanced and Metaphorical —
The Writing Style/Narrative. Unsurprisingly, Andersen manages to maintain his light, comical, direct but balanced and metaphorical writing style flawlessly in this fascinating sequel. The language is relatively simple and direct meaning you can fly through the story, but he effectively uses complex and vivid metaphors to draw attention to key details and to create a strong image of the world he has created – the balance is perfect and makes the book suitable for all age ranges.
Moreover, Andersen’s writing style is incredibly engaging, he masterfully creates pathos for characters and situations and easily makes you feel connected to the world and characters he has crafted, from the moment you open the book you are hooked and that attention never wavers. He cleverly weaves together comedy, danger and suspense creating strong atmospheres that draw you in and have effective pay-offs which keep you intrigued, shocked and satisfied throughout the whole story.
Again the story is told from the third person perspective of Philip – and again it is still a very effective choice. Philip is still a child, but has developed a lot since the first book – he is still a good child but is more flexible and has friends now. This means that his perspective is even more intrguing than before because now he is more inclined to do ‘bad’ things, so he is a little bit more unpredictable. Despite being a young child, you can easily connect with his perspective in this book because the events he has to deal with are ones relevant to us all.
The perspective gives us a lot of insight into Philip, his thoughts, emotions and motivations but also keeps us blind to the other characters motives. This allows a sense of mystery and suspense to be created and the tension works very well alongside the story because it keeps you interested. Much like with the first book, I really enjoyed this perspective, even more so now with Philip being more developed, and thought it worked wonderfully.
— Brilliantly Unique Story And Was Incredibly Fun —
The Story/Plot. Andersen is a fantastic story teller. This series has a fresh perspective on Hell/the underworld and has a unique storyline that never fails to entertain. We follow Philip as he is returned to Hell in order to help Death recover a stolen item that, if not returned, can cause a lot of trouble for Hell and its future.
This was a brilliantly unique story and was incredibly fun to read. The story is well paced from start to finish with well timed action filled scenes that are mixed in with fun, comical scenes as well as more serious ones. This worked incredibly well and was very effective, I loved this sequel as it added a great dynamic and extra elements to the world we already know. Andersen crafted a very intriguing story and a very well developed underworld and this book develops it even further – we learn a lot more about how Death and his Die works, about Life, and even about what is outside of Hell.
Moreover, the villain(s) of the story are fascinating, the way they influence the story and create tension and conflict is very cleverly done, it is subtle but effective and slowly builds to create a fantastic climax. This perfectly sets up for the next book in the series and makes you want to read more immediately.
I really enjoyed the concept of this story and the focus on Death, it gave us a new perspective and insight into the character of Death but also the world Death lives in. This allowed a lot of themes to be explored, most importantly life and death and the effects of immortality. It is done in a very gentle but powerful way that younger readers can easily understand and older readers can relate to and analyse.
I also loved the Earth aspect of the story and seeing how Philip’s life has changed now that he has grown. His new friendships on Earth and ability to actually relate to other children was a wonderful development that I hope continues through the rest of the series. Watching Philip’s life change, seeing him be much happier and actually enjoying his childhood with multiple friends was very interesting, even if he did miss his friends in Hell.
I can’t say too much more about the story as it is easy to spoil, but I really enjoyed the direction Andersen took. I cannot wait to see where Andersen takes us in the next book, I look forward to seeing the world develop more as the series goes on and am excited to see how the characters grow.
The Characters. I loved the characters in this story, I loved them in book 1 and now I love them even more. Each of the characters we know have been incredibly well developed, they have grown and become more multi-dimensional.
Philip. Philip has grown a lot over the course of this story, he has become more social, more lenient, happier and more unpredictable. Philip is still a very kind child, a ‘good’ child who will not do ‘bad’ things for the sake of doing so but is a little more selfish and more likely to stand up for himself. I like how Philip has developed and find his character to be surprisingly easy to relate to and connect with. Philip’s slight unpredictability adds a lot to the story and makes him more realistic, he is more emotional but still determined to be helpful and that makes him a great character overall.
Philip’s relationship with Satina also develops naturally and realistically. They make a great pair as they have very different personalities but are also incredibly compatible, they balance each other out and encourage each other to be better. It is an excellent dynamic that works perfectly.
Satina. I love Satina, she has also changed a lot as well, her character has developed wonderfully. Satina is a devil, specifically a trickster, and is great at encouraging people to carry out misdeeds but she is also surprisingly sweet and kind aswell. Satina is very clever, determined and headstrong, but can also be very emotional, shy and awkward. Her character is very strong and and interesting and is a brilliant contrast to Philip, but they also have some similarities and so make an incredible team.
Lucifer. So Lucifer is not as prominent in this book as he is in the first but we see a significant change in him now that he is restored to full health. Lucifer is stronger, more powerful, and more confident. Lucifer is great, his character is still brilliant and how he has bonded with Philip is one of the best things in the story. He is absolutely thrilled to have Philip back and treats hime like a son, they have a fantastic relationship and I cannot wait to see how it develops later on in the series.
Death. Death has a smaller but significant role in the first book and we get to see a lot more of him in this one and it was excellent. Death’s character is fascinating, he has distinctive views, is very direct and incredibly domineering and yet is reasonable and surprisingly kind. I loved the insight we get into Death’s character in this book, it really expands the world we are reading about. I hope to see more of him as the series goes on because I love the depth he added.
Overall. This was a fantastic story, and a brilliant sequel, it was fun, entertaining and full of twists and turns to keep you intrigued. The characters were well developed, their relationships developed naturally and their lives and insight added a lot of depth to the world.
I will definitely be continuing with this series because I am so excited to see how the world and characters develop as it goes on. This is a series that I would definitely recommend to all fantasy lovers who want a fun but multi-dimensional story filled with dynamic relationships and in-depth characters.
*I received a kindle copy of this book from @The_WriteReads in order to participate in a #blogtour*
July 6, 2019
I’ve said it before but I’ll say it again, I am loving these books! If you’ve read my review of The Devil’s Apprentice, you’ll know just how impressed I was with the characters and world building in the story. It’s so unique and fun! Yes fun! Sure, it’s a little dark but it such a great reading experience!
Book #2 in the series is no different! Philip “dies” again but this time he is summoned back to Hell for Death himself! After saving the “Great Devil”, Death is convinced Philip is the only one who can help him find his die and save the entire Underworld.
All of our favourite and not so favourite characters are back, and there are even a few new additions too! Philip happily reunites with Satina, and the rest of his friends whom he has been missing topside.
Together, they go on an incredible journey through the Underworld, meeting friend and foe, and uncover a darker conspiracy then they originally thought, even for Hell.
Guys, these books are so fun! And like a good book series, both characters, and plot are developing nicely. I can’t wait to read what happens next!
January 27, 2020
Original Review at Jaunts & Haunts
3.5/5
I gave this book three and a half die-rolling stars.
It pained me to give this book this rating to be honest. Reading the first book, I fell in love with the creepy world of Hell that we were introduced to and the main character Phillip.
However, this time around, there were some things I couldn’t ignore that bugged me. Don’t get me wrong, there was plenty of great stuff in this book, I just felt it paled in comparison to the first one.
So in a nutshell, Phillip has moved on with his human life on Earth. He’s no longer the goody two shoes that he once was, and in return he’s beginning to make friends at school and actually enjoy life.
But when he’s out with his new friends being mischievous, events occur that make him think that something is after him, and it wants him dead. Soon, Phillip finds himself in Hell once more, only this time the stakes are higher.
Someone has stolen Death’s die that gives mortals their lifespan, and unless Phillip can find it, all humans born will be immortal. Can Phillip find the culprit of this evil deed before his world is irreversibly changed?
This book had a lot of pros going for it.
For starters, Phillip as a character was much more interesting this time around. Instead of being the innocent do-gooder, he’s become his own person with his own flaws. I think he was better fleshed out as a character this time around.
The concept was, again, really great. Immortals walking the Earth? Yeah, that can’t be. I was invested in this story very quickly and wanted to see how things turned out. Hell was fleshed out even more than the last time, and I enjoyed that as well, especially from Death’s part of that universe.
The writing style didn’t really change and was primarily easy to read, and that’s probably my favorite thing about YA novels. The pages turn fast.
However, there were some things that I didn’t enjoy this time around.
In the first book, though the novel revolved around Phillip, it remained plot-driven in my eyes. This time around, it felt more character-driven. It’s just personal preference, but I prefer the plot to be the main driver in a novel.
Connecting with my previous point, the plot felt disjointed in certain areas. Things start out really well, but after that, things fall off for a while for me. The characters begin looking for the die, but about a third in something happens and it feels like they simply stopped looking for it. Eventually things did get back on track, but the entire time I kept asking myself why they stopped looking for the die. I mean, that’s why he’s there.
There were small bits where I got a tad confused or the conversation had a little too much back and forth, like when Satina and Phillip are navigating the stairs to Hell. They have this dialogue where they are theorizing what happened, but it goes a bit too far and overreaches to where I just had to skim over it.
It definitely wasn’t a dealbreaker, but I’ll admit it was an annoyance.
All this being said, I enjoyed my time reading The Die of Death. It was vivid, entertaining, and I am hoping that I enjoy the next book a bit more than this one. That ending really hooked me!
November 30, 2018
When I reviewed the first book in this series for Rosie’s Book Review Team, the author was kind enough to send me the second. There are, at least for the moment, four more to come (you can check them in the author’s website), and I, for starters, I’m looking forward to them.
The second book in the series picks up where the first one left, a few months after the protagonist, Philip visited Hell, and we see what has happened to him when he went back to life. Things are looking up for him. He has made some new friends, and he has become more popular. But then, strange things start to happen, he cheats death a few times, but eventually…
This time he is brought back to the Underworld (well, Underworlds), by Death himself, because Lucifer and Mortimer (Death) think he is the boy for the job. This time, the job involves retrieving the die of death (as you might have surmised from the title) that has been stolen. With Satina’s help (his girl-demon-friend) he starts investigating, and the search gets more desperate when the stakes become much higher and more personal.
I really enjoyed this book. Although there are reminders of what had happened in the first book in the series, and I guess regular readers of the genre might be able to pick up the clues quickly enough and follow the story, I would advise reading the books in the right order. There is much background covered in the first book that is relevant to the second book’s adventures, one gets a much better sense of how the different characters have evolved, and there are beautiful details and insights that would be lost if this book was read on its own.
For those of us who enjoyed the first book, this novel allows us to meet some of our favourite characters again (and some, perhaps, not as favourite), we discover some wonderfully creepy new locations and characters (death’s horse and his home are chilling, but I was particularly taken by the Purgatory), there are new dark jokes, and we get to know the fate of some interesting historical figures, like Hitler, Epicurus, and even Elvis!, and there are plenty of adventures. There are red-herrings and betrayals as would pertain a book about Hell, but I was gripped by some of the themes touched upon, like immortality (and, of course, mortality), fate, sin and guilt, getting old. If you’ve always wondered what it would be like to be immortal, this book will give you pause. (Yes, in most stories, the immortal are eternally young, but what would happen if they grew old?)
Although the book starts slowly, because trying to find clues about the whereabouts of the die proves hard and frustrating, the adventures soon pick up, and there are rich details all throughout the story that we need to pay attention to if we don’t want to miss anything. The rhythm increases quickly, and once Philip returns to Hell, we know we are in for a wild ride.
As I said when talking about the first book, this is a book for young adults and adults, especially those who enjoy dark adventures and fantasy with paranormal elements included. But, although the cruelty and violence are not described in extreme gory detail, this is a book that some would include into the horror category, and I would not recommend it for children or adults who are squeamish or scare easily. Some of the topics are also quite difficult, as we have broken families, illness, death, and matters of heaven and hell, and I’d recommend parents to check the book first themselves.
The book is well-written, has great characters (we get to see a more reflective Philip, who has to confront personal challenges and make some extremely difficult decisions), and it succeeds in building up the world of the series and in increasing its complexity. We also get a sample of the next book in the series, The Wrongful Death, which is scheduled for publication in the spring of 2019, at the back of the novel. Personally, I can’t wait.
March 22, 2021
"The Die of Death" is the second installment in The Great Devil War series by Kenneth B. Andersen. Check out my review of the first book The Devil’s Apprentice! This series follows a middle-grade boy Phillip, who finds himself in hell after being accidentally killed. He doesn’t belong in hell since he is inherently very good-natured. The first book narrates his dilemma of whether he should to be good person or embrace his bad side which is brought out by staying in Hell. He meets some very interesting people in hell including Lucifer, a talking cat Lucifax, Hell’s gatekeeper Grumblebeard and a devil-girl Satina with whom he forms a growing friendship. Laced with humor and having undertones of deeper themes, this series has all the components of a good YA fantasy series.
At the start of the book, Phillip has returned to normal life at school. However, his time in Hell has changed him. He has become good at lying to people, which was impossible for him a few months ago. He plays pranks on people and doesn’t do his homework. Strangely, he also keeps having near-death experiences. Then suddenly, he finds himself in the Other-world again.
Death is a major part as well as a character in this book. I liked that the plot was not similar to the first book and more like the start of something bigger. The hourglass concept was very interesting. The writing was more developed than the first book and I enjoyed it in this part more. Phillip’s emotional struggle was shown very clearly. Satina’s character felt a bit different in this book. I still can’t quite figure her out, and I’m hoping to know her better in the upcoming books. I liked how Phillips and Satina’s relationship slowly developed. There was a focus on characters other than Phillip as well in this book such as Grumblebeard and Ravine. The characters did come off as a bit ridiculous at times instead of funny. Also, I feel that at the beginning of the book, it took too much time to explain why Phillip was sent to Hell.
In terms of originality, this series does follow the trope of a regular boy being special and destined for something bigger. But the way that the author has created the world and executes the plot, it doesn’t feel the same as other YA fantasy series.
The enjoyed the ending and it was well-done. It was unexpected, and I could see that the story isn’t over.
Check out my book reviews, recommendations, and other content on Travelling Through Words and my bookstagram!
October 28, 2022
4.5 stars
Back in November the author reached out to me and asked me if I would be interested in reading and reviewing his book The Devil's Apprentice which is the first book in this series. I have to admit that I almost turned it down solely because I wasn't a fan of the cover but then I read the synopsis and was intrigued. I am so glad I didn't turn down reading the first book because it became a favorite and now I am here to review book 2. The author was kind enough to provide me with books 2-4 and I am participating in a blog tour for all 3 of them.
This book picks up 6 months after where book one left off and once again Philip ends up back in Hell. This time to help Death because the Die of Death was stolen. I will say the beginning was a little slow going for me at first but things quickly pick up.
Just like with the first book this one is imaginative except this time we not only get descriptions of Hell but we also the realm of Death and Purgatory. Kenneth does an awesome job with describing everything that I was able to picture what it would be like.
The chapters are short which I love and it's was a quick engaging read. This one did seem a little darker to me but it wasn't over the top. I can't wait to start reading the third book.
May 12, 2021
This is the second book in The Great Devil War series. I really enjoyed the first book, and the second book was no different! I still stand by my opinion that this reads on the younger side of YA even though it’s a little dark. In this installment, Phillip has to help Mortimer (death) find his die and save the underworld again. It was nice to return to this world and see these characters again, especially Satina who I really enjoyed from the first book! It was also nice to see Phillip’s character development – he went from a goody-two-shoes to completely evil and back in the first book, and here we see him finding a middle ground and really coming into his own.
This is a very quick series to read, and was really enjoyable. My only complaint would be that Phillip seems a little juvenile, especially when you look at what kids are really like today but at the same time it’s refreshing to have a kid be so….well, childlike!
The mystery aspect of this book was fun as well, and overall this was a fun, engaging, and fast paced read! It’ll be interesting seeing where this series goes next!
November 30, 2011
Udmærket, men jeg kunne bedre lide første bind i serien.
May 24, 2020
3.5 stars rounded up
It was nice to come back to Philip's story and see what happens in the second book of The Great Devil War series. Quite a bit of time has passed since we last met Philip and as we know from book one, he experienced quite a lot of growth (in both good and bad ways!) since his time spent in Hell as the Devil's apprentice. Sure, in many ways, Philip is still a 'good boy' but he's certainly no longer an angel. It was nice to see him slowly start to make friends in this book and to see the change in Sam, the infamous school bully, become Philip's 'guardian angel' of sorts! If there's one element I wish we saw more of, it would be Philip's time on earth, as it seems there's a fair bit that happens but we don't get to see it.
While the main focus of the story is on solving the mystery of who stole Death's die, there were other minor storylines that came together really neatly in the end. I feel like this book really sets the foundation of the unrest that's brewing amongst the devils ever since book one ended. Surprisingly, we don't spend that much time with Mortimer (Death) although I found his parts, especially in his house with the hourglasses, really intriguing. Unlike how the Devil really grew on me in the first book, I don't think that really happened with Death, although he wasn't as scary as he was made out to be in book one. We also see less of Lucifer and Lucifax, which was a little disappointing, but we spend a lot more time with Philip, Satina, Ravine and Grumblebeard. As morbid as the descriptions are in the book (as to be expected in a book about hell), the cheeky and dry humour from the characters and their interactions really had me chuckling a fair bit. I also love the regular references to characters that we know of in real life (like Hitler) and these little character easter eggs, alongside the mystery and humour, kept me thoroughly entertained throughout the read.
I will say that the burgeoning romance between Philip and Satina isn't really working for me though. I feel like it's a little forced and I wish that their relationship stayed platonic rather than the awkward pre-pubescent romance vibes that we get between them. That said, it doesn't play a major role in the story although Philip does moon a lot over Satina :)
The exploration of morality and the way that Andersen brings hell to life on the page continues to make this series one of the more unique stories I've had the pleasure of reading. I'm becoming even more curious about Andersen's inspiration for this book! I mean, besides the obvious. Overall, I'm looking forward to seeing what happens next in the great devil war and I have a feeling that the storyline will really pick up after this book!
April 7, 2020
Book source ~ Tour
14-yr-old Philip Engel has survived relatively unscathed during his time as apprentice to Lucifer. He’s been sent back to Earth with a soul that’s a little less angelic which garners him some actual friends at school. When Death comes knocking though, back he goes to the Underworld. Mortimer’s Die has been stolen and he desperately needs Philip’s help to find it before the natural order of things is completely out of whack. Satina, his devil friend, is there to help while they look for clues and track it down. But they’re having a hard time making any headway. Well, this is Hell after all. Did he think it would be a walk in the park?
Are you looking for an easy read that will keep you guessing and have you rooting for the little guy? Then look no further. This book is a great way to pass the day. Philip is a smart cookie and a wonderful character and side characters aren’t too shabby either. The mystery isn’t easy to solve and there’s drama, humor, and danger along the way. Keep in mind that Philip and Satina are young adult. Very young adult at 14, so adults, at times, might be like, you idiot! Use your brain! But they are young and have no wisdom yet. So, don’t get too upset when they screw up. It’s all a part of growing up. Yes, even in Hell. I look forward to book III!
April 5, 2020
This is the second book in the Great Devil War series and I enjoyed it as much The first one, The Devil’s Apprentice.
The story continues where it left off in book one, with Philip a changed boy, no longer the “angel” he was at the beginning of his journey.
This time, Philip dies again for all intents and purposes and reaches Hell. He is greeted by Satina, a demon friend he made in his previous journey to Hell, that he had missed dearly. Thus he learns that he’d been summoned by Mortimer, Death himself to help solve a mystery and save Hell once more. Isn’t it funny how the fate of the underworld came to depend on the mystery-solving skills of an 11-year old human boy?
Joking aside, Philip is no longer the good boy who’d help anyone without expecting anything in return. His previous time in Hell has shaped him in ways that life on Earth had failed to. He’s more cunning and even strikes a deal with Death for his help.
During his adventures in Hell, Philip learns that immortality isn’t as desirable as one might think and that Death isn’t meaningless.
“Death isn’t an unfortunate consequence of life; on the contrary, Death is what makes life worth living. Men and women value only that which they might lose. Don’t you see? Without death, life is uninteresting and utterly meaningless.”
When something he discovers on Mortimer’s shelf affects him deeply, he strikes a bargain with Death and undertakes the quest he was brought in for: recovering the stolen die of Death, the die with a hundred faces that determines how many years every human lives, in exchange for a favor.
Read the whole review here: https://www.summonfantasy.com/book-re...
April 18, 2024
2.25⭐️
Nie podoba mi się to, w jaki sposób przedstawieni są Diabeł i Śmierć - jaki to autorytet, gdy 13-sto letni chłopiec rozwiązuje problemy, z którymi oni sobie nie radzą
July 13, 2024
Banger opfølger. Godt nok får bogen kun fire stjerner, men der er ingen tvivl om, at Dødens Terning er en nærmest perfekt opfølger. Der er så meget, som jeg elsker ved den her bog, så lad os kigge på det, ikkeeee?
- Kenneths univers bliver stærkt udbygget. Bogen omhandler adskillige områder, som ikke befinder sig i Helvede. Dødens rige, Ydergård og Skærsilden spiller alle vigtige roller i bogen, og er en velkommen forandring, der gør, at bogen ikke føles som om, at den træder vande. Man er over 100 sider inde i bogen, før Filip kommer til Helvede igen, og omkring halvvejs, før Lucifer dukker op. Men det er ikke blot udenfor Helvede, at verdenen bliver bygget videre på. Også indenfor porten bliver der udforsket nyt territorie. Straffe for de fordømte, såsom Galgedalen, Isfloden og Mareridsmosen gør underriget til et endnu mere gyseligt sted, men der er også andre tilføjelser. Både inddragelsen af Satinas skole samt alderdomshjemmet gør, at verden føles lidt mere levende (haaaa) og gør den på samme tid også lidt mere menneskelig, for mangel på bedre beskrivelse.
- Skumleskægs karakter bliver uddybet en del. Ikke nok med at han oplever kærlighed, så bliver hans baggrund og synd også udforsket, hvilket gør en allerede venlig karakter endnu mere sympatisk.
- Plottet, som omhandler tyveriet af dødens terning leder til nogle ret heftige temaer. Spørgsmål om mortalitet, udødelighed og straffen af evigt liv bliver udforsket på en måde, der giver en et godt perspektiv. Det selvsamme plot bygger også til noget større, og folk, som har læst serien før, ved, at handlingen i bogen er meget vigtig for senere hændelser, især slutningen på bogen.
- Aziel er tilbage, og selvom han kun kortvarigt optræder i bogen, så er de par kapitler, hvor han optræder, super effektive i at opbygge hans karakter. Man får et stærkt indblik i, helt præcist for forskruet og ondskabsfuld han er, men på samme tid også hvor intelligent og intimiderende han bliver.
- Filip og Satina. Yes please, it's too cuuute.
- Ravine. Yas queen, slay that shit.
Fordi alle er glade, og du er glad og jeg er glad, så skal vi da haaaa' en rigtig banger sang på programmet. 'Legend Has It' af Run the Jewels, fra deres fantastiske (og bedste) album, 'Run The Jewels 3' (meget kreativ titel).
Igen plagierer jeg en, som er mig meget kær, når jeg siger: Toodles!
December 23, 2019
I liked the first one but I think I actually liked this one better. I love how Kenneth is really good with story telling. He builds a world up and makes me feel like I'm there with Phillip. The only thing I wish is that Phillip wasn't so juvenile. With the way kids are now he doesn't really seem to fit. But he is a likeable character!
Read
May 3, 2020
My Rating: 4.5 stars
This Review is part of #TheDieofDeath #UltimateBlogTour hosted by TheWriteReads
Thanks a ton, Dave from @TheWriteReads and the author-Kenneth B. Andersen, for giving me this opportunity and providing me with a free e-book copy of ‘The Die of Death’ on exchange for an honest and unbiased opinion.
Just like the previous book in the series, The Die of Death has a cover captivating enough to grab the reader’s attention at first sight. Mortimer -the Death himself, with facial features so keen & cold, has been shown riding a nightmarish three-legged Hel Horse. The Valley of Gallows has been pictured in the background, where the bodies of the condemned have been shown hanging from the gallows. This fascinating portrayal of the theme of the story ignites the urge in the reader’s mind to delve into the story without any delay.
It could have been a normal day for Phillip as he is hanging out with his school friends and being mischievous. However, when Death himself has decided to pay a visit to Phillip, how can he not have premonitions? Phillip this time has been called from Life to the depths of Hell for quite a different purpose. It is the matter of Life and Death. The Die of Death has been stolen! That very die which when rolled determines the life span of a mortal person! How hard is it to imagine what immortality feels like?
Death is a word feared by most. No Human being wants to be lost in oblivion. Death is perceived as an antipathetic and an unfortunate event. Something we are always scared of. But death is not a word to be despised. We realise that good cannot exist without evil, similarly Life has no practicality or worth without the existence of Death. An eternal life or the power of immortality is desired by many, however have we thought of the consequences? With passing time, we become old, debilitated, powerless, the meaning of our very existence starts fading away. A mortal life gives a human being the significance, the worth of existence that he/she deserves.
Even Devils do not have the pleasure of experiencing a life full of utmost satisfaction, their immortality being the paramount cause!
I LOVE how K.B. Anderson every time, through his splendid way of storytelling, ingeniously gives a significant message out to the readers.
In Die of Death, we get to accompany Philip into the deeper corners of the underworld. So many new places in and around Hell are discovered. The Valley of Gallows- where the bodies of the condemned are hanged, with the noose so tight around their neck that it penetrates the flesh, incapacitating them so much that not a word is heard but only moans, moans filled with distress and horror. The ground is so wet with tears and blood that not a single footprint can be left unnoticed. The Purgatory -where the sins of the condemned are cleansed as they ascend to Heaven. The high mountain cliff ablaze with a flame black in colour burns their sins. The souls desperately repenting their deeds are struggling to climb up the steep hill, their bodies set ablaze with the flame that burns their sins so vehemently that the air around feels scorching and piercing. We also get to pay a visit to Death’s humble abode! A place outside the gates of Hell where there is no pandemonium. The darkness and the coldness here is so piercing! The sky is always dark like hell except that in Death’s place the sky is full of gloom and delirium. The incessant depths of forest is dull and colourless and full of dead and hunchbacked flowers, the trees and air feel like fall, dead leaves resting on the ground, the branches of trees extending like conjoined skeletal forearms! The only place where you can feel alive, amidst the smell of death, is inside the basement of Death’s house which is full of myriads of hourglasses with the swift movement of sand inside. The hourglasses determine Life and death unveiling the many deeds that a mortal being is capable of in his lifetime. The basement is certainly the best place that I have visited in the underworld! The narrative is so brilliant that you can form a crystal clear image in your head and you feel like you are actually living and experiencing and seeing things in real!
Philip’s emotions are manifested on a greater level in this book of the series. Time and again Philip finds himself lost in a cobweb of critical situations. Situations which can never be avoided by Philip as his whole life and happiness revolve around them! Quite often while reading I found my eyes almost teary and could feel the horripilation on my arms. How much despairing and stressful can it be for a fourteen-year-old boy to choose between things which are eminently significant in his life? Philip’s business in Hell is to find the stolen die but it is not that simple since his own life has been miserably connected to the event that makes it an inescapable and herculean experience all together!
Besides, albeit Philip’s visit in Hell and his previous achievement at saving Lucifer’s life and unmasking the murderous devil child has gained him quite a huge number of fan followers in the underworld, Philip has also managed to ignite hatred and repugnance within the minds of some devils in Hell and also vile and vicious creatures in the Outer Reach. The past has not been forgotten or forgiven. The malicious and acerbic shadows still lurk within and outside of Hell.
Will Philip be able to retrieve the Die of Death from the obdurate fists of the thieves? Or shall he lose and kill his most priced possessions? How much of the past has been forgotten?? Shall the egregious shadows of evil once again visit Philip?? Is Philip ready to have his mind jumbled up sadistically?
To sum up I would say that I have a feeling that the quality of the stories in the series will keep on towering more and more. K.B. Andersen is an excellent penman! It was indeed a good decision signing up for the tours!
The amazing world-building and the impeccable expression of the characters and the author’s imaginative mind has been put down in black and white so finely that it keeps the readers going and turning the pages. In ‘The Devil’s Apprentice’ I found myself lagging behind a bit midway, but ‘The Die of Death’ has been certainly a more enjoyable journey for me! You cannot get your eyes off the pages of the book. The narrative is fast paced with a quality of language which is easily understandable. The ambiance and the mood that has been built in the story is so perfect to keep a reader engaged for a longer period of time. Each and every chapter is full of mysteries and adventures which are so excellently fascinating and entertaining! Guess The concept behind each and every book of the series keeps on getting better and more riveting! I am so eagerly looking forward to reading the next book ‘The Wrongful Death’ in the series! 10/10 recommending ‘The Devil’s Apprentice’ and ‘The Die of Death’ to all the fantasy lovers out there and to other readers in general who would enjoy reading something different!
Check out my Blog: https://musingsofanepeolator.home.blog/
April 13, 2020
This book was provided for review by the author and The Write Reads. Thank you!
The Die of Death by Kenneth B. Andersen is the second book in his very popular The Great Devil War series. Picking up roughly six month after the events of the first book in the series – The Devil’s Apprentice – we are once again reunited with the main character Philip.
Much has changed for Philip since his time in Hell. No longer the ‘goody two shoes’ that he was in the first book, he has made new friends from old enemies. He still remembers his old friends from Hell though and after a terrible storm one night, he is reunited with them on an all too familiar staircase.
As in the first book, the majority of the story takes place in Hell. And again, as with the first book, Andersen has out done himself in bringing the place to “life”. His descriptions of the places Philip and Sabine visit make it quite easy to picture. The addition of the lands of Purgatory and of Death’s domain also serve to expand this particular universe.
While the actual setting of The Die of Death is wonderfully rounded out further in this second book, it is the changes that the actual characters go through that truly help move the story along. Mortimer – aka Death – is better rounded out and as the book goes on we truly see the kind of person he is. And we come to realize, just as Philip does, that death is a part of life and is not something to be feared.
Sometimes, the second book of a series is not as strong as the first. This is simply not true with The Die of Death. It easily holds its own and is as enjoyable as the first book. I loved reading it and look forward to reading the rest of the series.
March 29, 2020
How I read this: free review copy for blog tour, also purchased
There are so many reasons I love this series and this book. I sometimes worry about sequels, but I really shouldn’t have for this one – the sequel to The Devil's Apprentice certainly didn’t disappoint! It read just as easily, in fact, I finished it in one day and immensely enjoyed it. Can’t wait to get my hands on the next one! Here's a full review on my blog, if you want to find out more about why I recommend reading it:
https://avalinahsbooks.space/die-of-d...
I thank the author and The Write Reads tours for giving me a free copy in exchange to an honest review (I have also purchased my own copy). This has not affected my opinion.
Book Blog | Bookstagram | Bookish Twitter
April 5, 2019
Philip's adventures as the Devil's apprentice have changed him—in a good way. Although he misses his friends in Hell, he has made new friends in life. But when the future of the underworld is threatened once again, Philip’s help is needed. Death's Die has been stolen and immortality is spreading across the globe. Philip throws himself into the search—and discovers a horrible truth about his own life along the way.
The Die of Death is volume 2 in The Great Devil War-series.
Picking up a few months after the conclusion of the first book, Philip has never done better in his life!
I really liked how the world in the story is expanded.
A fantastic and unpredictable book where anything can happen. We meet all the beloved characters again
Surprising ending that leaves one speculating what will happen next.
Really great book and I can't wait to read the next one.
I received a free copy via the author and this is my own voluntary honest review.
October 5, 2023
Morsom, velskrevet og letlæst fantasybog.
Jeg fløj igennem bogen på en weekend og var rigtig godt underholdt undervejs.
At følge drengen Filip på hans ture til helvede er bestemt ikke kedeligt. Djævelen, Døden, Skærsilden, Hitler og Judas - intet eller ingen er for stor til at få en omgang humor med på vejen når denne forfatter fortæller sine historier.
Bogen giver derudover et vigtigt og indsigtfuldt billede af nødvendigheden af selve døden - måske et lidt tungt emne for en børnebog, derfor er det også endnu mere beundringsværdig når moralen er så eminent godt leveret som tilfældet er her.
Jeg glæder mig meget til at læse videre i serien.
April 16, 2019
Another great book following the first. Couldn’t read it fast enough
March 31, 2020
*First and foremost, I have received a free e-copy from the author in exchange for an honest review.*
This series really took me by surprise. I mean it in the best way possible. As I said in my first review, I was afraid it wouldn't be my cup of tea (for reasons unknown to me), but the first book turned out to be a great, super fun and original adventure story. I'm happy to report the second book didn't disappoint either!
We start not too long after we left off. After his time in Hell, Philip comes back changed - he makes new friends and leaves his angel ways behind. He's not quite the devil he's turned into under Lucifer's wing, but he's definitely easier to tempt and give into some not-so-innocent fun. Just as he thinks he is back for good - the underworld needs him again! The die of Death has been stolen.
I want to start with saying it was such a pleasure returning to this world. I didn't realise just how attached I got to it until I went back to the story. Hell is an interesting place, and we find out even more about its rules and inner workings. Just like in the first book we meet a few biblical and historical figures, and those small references interwoven in the story really add a lot of depth to the overall world building. Andersen adds so much richness to the world, expanding the underworld and showing us the outer perimeter of Hell and Mortimer's house, as well as telling us about more sinister places I'm sure we'll visit in the later books.
I said it before and I'll say it again - Philip is a great protagonist to follow. He's incredibly likeable, even when he strays, and you really root for him throughout the story. I loved seeing all the other characters, too! When Philip comes back to Lucifer's palace, it's like a family reunion. It's heart warming as Philip comes from a broken family and has never met his father. I really like how consistent the characters stay in the second book - in some books, especially in sequels, the secondary characters tend to loose their personality a bit, especially if they're taking the back burner after being one of the mains in the first book. Instead they become plot devices. That wasn't the case in The Die of Death.
I loved the plot and pacing of this one. Philip is back in Hell to find Death's missing die. Without it, Death can't establish the length of the humans' life - and that makes them immortal. While investigating the missing die, Philip discovers something about his own family and things get even more complicated. There's never a dull moment in The Die of Death. The plot is gripping from start to finish, with more intrigue added as we go. First book talked a lot about morality and in this one we focus more on immortality and what it means to live forever. I really like that there is depth to each of those stories other than just the adventure story we see on the surface. My only qualm is the subplot with Philip's father and the fact that it was done twice. I understand where it came from, but it made the ending seem a bit repetitive and predictable.
I can't wait to continue with the series and I'll be picking up the third book real soon, as this was a pleasure to read!
April 14, 2020
I just want to place my initial reaction in the aftermath of reading the first 50 pages:
Oh wow. When I say that the first 50 pages of Die of Death is a whirlwind of action and I was on the edge of my seat, thinking WHAT THE HELL IS HAPPENING?!
It’s an understatement.
I think one of the things that I thoroughly enjoyed from Kenneth B. Anderson’s Devil’s Apprentice, which is book one of The Great Devil War, I claimed that the action element and the pacing of the novel was one of its strengths. There is something always happening and you feel that it is a high stakes situation. You get emotionally invested in the triumphs and tribulations of the characters.
I had so much fun reading this book and it was exactly what I needed right now with everything going on (STAY INSIDE AND WASH YOUR HANDS AND JUST BE SAFE PLEASE, ESPECIALLY YOU AUSTRALIANS I SEE YOU STILL AT THE BEACH GO THE FUCK HOME). I didn’t realise how much I missed the characters of Philip and Satina and GRUMBLEBEARD MY PRECIOUS (he redeems himself at the end thankfully, I was STRESSED).
If this post feels slightly chaotic it is because I am currently, slighty chaotic.
The world, the mythology and the cast of characters blew me away again. I might have to say that The Die of Death might be my favourite of the series, well, of the two I have read because I found it so much more engaging as well as hilarious. The amount of times I laughed out loud surprised me! In this book, we find out more about the different ‘levels’ so to speak, of the Underworld, of the different punishments and positions of various ‘Devils’. It also brought forward an interesting discussion surrounding death, mortality and immortality which I found to be quite powerful especially considering the demographic and audience of the books.
I think for me the character that I hold a new connection too would have to be Mortimer, or Death. There is a scene at the end of the book which I won’t disclose because of spoilers and i do want to keep this review spoiler free. But this scene was so heartwarming and made me absolutely adore Mortimer. If you know which scene I’m talking about – tell me I’m wrong! I had tears in my eyes, not going to lie. His character was both morally ambiguous but empathetic – we got to see Death as mortal and it was a humbling experience for him, I think. Well, I believe he realised something about maybe himself or the world and I just really enjoyed his character.
Philip was exactly the same and I enjoyed his character. He goes through slightly more emotional growth, I feel, in this book. I am beginning to see his maturity develop has he grows up and I cannot wait to see how he matures over the course of the series. BUT CAN I JUST SAY HOW MUCH I HATE FREAKING AZIEL LIKE I KNEW HE WOULD COME BACK BUT I WAS HOPING HE WOULD NOT AND WHEN HE DID I ACTUALLY SCREAMED.
The pacing and the action as well as the twist and turns of the plot itself was magnificent. I read this book in a few hours in one sitting, that is how much I enjoyed the pacing and the plot and the characters. It was just such a fun freaking time.
My only criticism, and its not really a criticism just a little pet peeve, is that I really wish Satina had more of a role, so to speak, in the overall action and mystery-solving. I really enjoy her character but I feel as though sometimes she is just there to provide a sort of side-kick character on the periphery as well as the love interest for Philip. She doesn’t really give anything else to the story and I think that is something which is lacking in the plot – strong, female characters as most are men or male-creatures.
Overall, I had such a fun time reading this book and I cannot wait to read the third book in the series. I rated The Die of Death by Kenneth B. Anderson 4 out of 5 stars. I HIGHLY RECOMMEND this book to lovers of fantasy as well as re-tellings(?) – it is fast paced, interesting and high-stakes sort of action.
I just want to thank The Write Reads for the opportunity to read and review this book as part of the blog tour. And I urge you all to check out the other stops on the blog tour as well! We have a really great time doing these and I hope you all enjoy the reviews and all the good stuff that comes out of it.
December 13, 2019
The cover of The Die of Death was the first thing that I noticed about the book. It is one of the more arresting covers that I have seen, ever. It caught my eye and made me wonder what the book was going to be like.
The Die of Death is the 2nd book in The Great Devil War series. You cannot read this as a stand-alone. It will help if you read the previous books to understand what was going on in this book. I can’t stress this enough. You will be lost if you decide to read The Die of Death first.
The Die of Death is billed as a young adult fantasy. Because of the subjects discussed and portrayed, I would suggest that an older teen (16+) read the book.
The Die of Death’s plotline was fast-paced. But, it wasn’t so fast that I had issues following the plotline. The author knew when to slow down enough for critical scenes to be absorbed. Also, there were no dropped storylines or characters. I loved it!!
Philip was different in The Die of Death. His time in Hell had changed him. He stood in a more morally gray area. He was still a “good” boy, but there was an edge to him. I wasn’t surprised when he died again. But I was surprised when he was tasked with finding Mortimer’s dice. With Satina’s help (and I loved how teed off she was with him at the beginning), he started to dig into who had the dice. I did not doubt that he would find the dice. But I was surprised at the twists and turns that the story took to get there. Philip visited Purgatory (which was nothing like I imagined) and spent time at Mortimer’s house. I can’t go much after that because of massive spoilers. All I will say is that I wasn’t expecting Philip’s storyline to turn out the way it did.
I loved that the author took evil historical figures and peppered them throughout the book. I had a deep sense of satisfaction when I saw that Jack the Ripper was being chased by the women he murdered.
Philip and Satina’s developing romantic relationship was cute. There were a few “aww” moments with them during the book. I hope that they stay strong in the next book!!
Lucifer was a considerable presence in the book. I am still trying to wrap my head around him being fatherly to Philip. Not something I would even think to say when I think of the devil. I will say that I didn’t agree with his decision, and yes, it did hasten things up quite a bit.
The storyline involving the dice was interesting. I wasn’t expecting who took it. I did think it was another person, so, yes, I was surprised. But, I was also saddened by why the person took it. The hourglasses also saddened me along with the bargain Philip made with Mortimer.
The end of The Die of Death was bittersweet. I wasn’t surprised at who was in Mortimer’s basement. I also wasn’t surprised at what that person did and attempted to do. He got what was coming to him. There was also a perfect lead in to the next book, which I can’t wait to read!!!
April 4, 2020
The story picks up not too long after the events that concluded The Devil's Apprentice. Philip is back above ground, so to speak, after his adventures in Hell. In the first book, Philip was accidentally sent to the underworld in a case of mistaken identity and found himself being groomed to take over the top job by the head honcho Satan himself. Philip learned a lot about himself during the time he spent in Hell, including his capacity to shed his goodie goodie persona for one that was a little more devious.
Turns out he will need to harness all of the evil skills that he learned during his first sojourn as he is called back to the fiery pits of Hell to solve a mystery. It seems that Mortimer, who is actually "Death" has a bit of a problem that he needs fixing and 11 year-old Philip is the only one that can undertake the mission. The mission in this case is to try and recover the stolen Death's Die. If the Die is not recovered soon, immortality will spread across the globe in the living world and nobody will ever experience death, they will just live forever. You can see how this would cause a huge overpopulation problem right?
Philip undertakes the quest with not an insignificant amount of reservation, but what choice does he really have? When Death comes calling everyone must answer or face the consequences. But the mission is not without its travails and Philip soon discovers more about himself than he ever bargained for along the way. It's a race against time and death itself in this humorously enjoyable Satanic sequel.
I enjoyed THE DIE OF DEATH even more than I did its predecessor. This is such a fun romp through the underworld and along the way we encounter various historical figures of dubious renown, which really lent a lot more to the story this time around. Whereas the first book dealt a lot with Philips situation and his training, this book focuses more on a mystery that is pretty exciting and engrossing and Philip just gets to be himself. We experience everything that happens through his eyes and what a fun journey it is.
Kenneth B. Andersen truly has written a very accessible YA fantasy series that any age group of reader can enjoy. The wonderful biting humor and satire are what make this book and series such a joy to sink yourself into. I found THE DIE OF DEATH to be a fast read with great world-building and a main character in Philip who you can really see maturing before your eyes. I look forward to getting to read book 3 very soon and reviewing that one on the next Blog Tour!
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https://wlm3.com/tag/bo-diddley/
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You Do Hoodoo
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2023-02-01T12:45:04-05:00
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Posts about Bo Diddley written by wlm3
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en
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You Do Hoodoo
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https://wlm3.com/tag/bo-diddley/
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Bo Diddley Revisited
I’ve been making good use of my time, watching YouTube videos of interviews with Eric Burdon, former front man for the Animals.[1] In the mid-Sixties, the Animals ranked as my favorite band because the timbre of Burdon’s singing voice sounded as if he could have been from my native ground, the Lowcountry of South Carolina (as opposed to Eric’s Newcastle-upon-Tyne). In fact, it was the Animals, and to lesser extent the Rolling Stones, who introduced me the blues, to Muddy Waters, Howlin Wolf, John Lee Hooker, and a host of others.
Decades ago, at his record store on Society Street (we’re talking Charleston, South Carolina), Gary Erwin, AKA Shrimp City Slim, told me that the Animals also had turned him onto R&B and the blues. He referenced their album Animal Tracks as his gateway into the land of shotgun shacks, cotton fields, black snakes, two-timing, big-legged women, and prison farms.
Here’s the tracklist for Animal Tracks.
Although “We Gotta Get Out of This Place” and “Don’t’ Let Me Be Misunderstood” are the big hits from the album, my two favorite tracks are the magnificent cover of Sam Cooke’s “Bring It on Home to Me” and “The Story of Bo Diddley,” a sort of pop song bio of one of the pioneers of rock-n-roll, which ends with a comic encounter when Bo, his sister the Duchess, and Jerome Greene meet the Animals at the Club A-Go-Go in Newcastle.
Listen and read along:
Now lets hear the story of Bo Diddley
And the Rock n Roll scene in general
Bo Diddley was born Ellis McDaniels
In a place called McCoom, Missississipi about 1926
He moved to Chicago about 1938
Where his name was eventually changed to Bo Diddley.
He practiced the guitar everyday and sometimes into the night
Till his papa’s hair began to turn white
His Pa said “Son, listen hear, I know
You can stay but that guitar has just gotta go.”
So he pulled his hat down over his eyes
Headed out for them Western Skies
I think Bob Dylan said that, he hit New York City.
He began to play at the Apollo in Harlem,
Good scene there, everybody raving.
One day, one night, came a Cadillac with four head lights
Came a man with a big, long, fat, cigar said,
“C’mere son, I’m gonna make you a star”
Bo Diddley said, “Uh.whats in it for me?”
Man said, “Shut your mouth son,
Play the guitar and you just wait and see.”
Well, that boy made it, he made it real big
And so did the rest of the rock n roll scene along with him
And a white guy named Johnny Otis took Bo Diddleys rhythm
He changed it into hand-jive and it went like this
In a little old country town one day
A little old country band began to play
Add two guirtars and a beat up saxophone
When the drummer said, boy, those cats begin to roam
Oh baby oh we oh oh
Ooh la la that rock and roll
Ya hear me oh we oh oh
Ooh la la that rock and roll
Then in the U.S. music scene there was big changes made.
Due to circumstances beyond our control such as payola,
The rock n roll scene died after two years of solid rock
And you got discs like, ah…
Take good care of my baby
Please don’t ever make her blue and so forth.
About, ah, one year later in a place called Liverpool in England
Four young guys with mop haircuts began to sing stuff like, ah…
It’s been a hard days night and I’ve been working like a dog and so on.
In a place called Richmond in Surrey, whay down in the deep south
They got guys with long hair down their back singing
I wanna be your lover baby I wanna be your man yeah and all that jazz.
Now we’ve doing this number, Bo Diddley, for quite some time now
Bo Diddley visited this country last year
We were playing at the Club A Gogo in Newcastle, our home town.
The doors opened one night and to our surprise
Walked in the man himself, Bo Diddley
Along with him was Jerome Green, his maraca man,
And the Duchess, his gorgeous sister.
And a we were doing this number
Along with them came the Rolling Stones, the Mersey Beats,
They’re all standing around diggin’ it
And I overheard Bo Diddley talkin’
He turned around to Jermone Green
And he said, “Hey, Jerome? What do you think these guys
Doin’ our.our material?”
Jerome said, “Uh, where’s the bar, man? Please show me to the bar…”
He turned around the Duchess
And he said, “Hey Duchess… what do you think of these young guys
Doin’ our material?”
She said, “I don’t know. I only came across here
To see the changin’ of the guards and all that jazz.”
Well, Bo Diddley looked up and said to me,
With half closed eyes and a smile,
He said “Man, ” took off his glasses,
He said, “Man, that sure is the biggest load of rubbish
I ever heard in my life…”
Hey Bo Diddley
Oh Bo Diddley
Yeah Bo Diddley
Oh Bo Diddley
Yeah Bo Diddley
By the way, this is my second homage to Bo. I also wrote about him in April of 2021 and my father-in-law’s Bo Diddley obsession. If so inclined, you can access that HERE, and it features videos of Bo performing on the Ed Sullivan Show and a snippet from the movie Fritz the Cat.
By the way, the white fellow in the collage up above is my father-in-law Lee Tigner in his younger days.
[bongo fade out]
[1] What prompted this foray into nostalgia was my recent poem, which you can access HERE, “The St James Infirmary iPhone Blues.”
I can’t remember when I first heard the song “Bo Diddley” with its hambone beat, hypnotic riffs, and Jerome Green powered maracas, but it thrilled me. I realize that Chuck Berry’s more wide-ranging musically and possesses a deeper canon, but Bo’s early songs with their African rhythms reverberated in my marrowbone like nothing else in early rock-n-roll.
Later in high school, my friend Tim Miskel turned me onto the album Animal Tracks. On the final cut of Side 1, Eric Burdon provides a five-minute bio of Bo, which initiated a mild obsession.
One day, one night
Came a Cadillac, four headlights
Came a man with a big long fat cigar.
He said “Come here son, I’m going to make you a star.”
Bo Diddley said, “Uh, what’s in it for me?”
The man said, “Uh, shut your mouth son and play the guitar
And you just wait and see.”
From “The Story of Boy Diddley,” Animal Tracks
Whenever I’d go into a new record store, I’d see if they had any Diddley. No luck ever until one day I wandered into Fox Music House on King Street in Charleston. Their inventory was eclectic, old-fashioned, but sparse. You could cop some Doris Day but not the Stones. As I was flipping through their loosely organized bins, I found a first edition copy of Bo Diddley’s Beach Party (recorded live at the Beach Club in Myrtle Beach, SC). Fox sold albums for the exorbitant price of five dollars a pop.[1] I actually tried to talk the clerk into a discount. “No one’s ever going to buy this record,” I argued. “It’ been sitting here since since 1964.” It was no dice, but I snatched it up anyway. By the way, the vinyl was heavy on those discs of yore; you could beat someone senseless with a pre-70s LP.
Alas, one debauched night in the first semester of my freshman year, I left Beach Party on the floor of the suite adjoining our dorm rooms, and someone stepped on it. The damned thing cracked like a glass plate.
Chalk it up to the wages of carelessness or drunkenness or ganjafication or a combination of the three.
Later, in graduate school, all hepped up on Dada, my friends Jake Williams, Keith Sanders, and I had a mini Bo revival. We nearly wore out Keith’s Diddley’s records. We’d meet on Sunday evenings, prepare dinner, imbibe second tier scotch, and jive talk our way into the wee hours while listening to Keith’s world class vinyl collection.
A few flips of the calendar later, in the pre-children early years of my marriage to Judy Birdsong, I got to see Bo play live at a club in North Charleston. In between sets, I approached him as he walked off stage.
Wesley: Oh, man, Bo, I’m such a big fan. This is such an honor.
Bo: silence.
Wesley: Hey, Bo, where’s Jerome Green, your maraca man?
Bo: deceased.
Wesley: How about the Duchess?
Bo: Chicago.
Wesley (finally getting the hint): Well, thank you so much!
Bo: head nod.
Well, in the course of the years that followed – childbirth, school days, graduation, empty nest, cancer, the death of Judy – my Bo Diddley obsession faded away,[2] though I still listened to him now and then and sometimes included one of his songs on the mixed tapes and later mixed CDs I made for my students who won vocabulary bees.
When Caroline, my second wife, took me to meet her father Lee Tigner for the first time in the wilds of Awendaw, I discovered that he, too, was a Diddley devotee and could match me lyric for lyric. He also had met Bo in person but received a somewhat warmer albeit taciturn response. After Bo’s demise, Lee made the pilgrimage to Bronson, Florida, to visit the grave of the master. We’re talking about serious admiration.
Anyway, Lee and I bonded over Bo, which is perhaps a small compensation to him in light of my being an unintrepid indoorsman.
A couple of weeks ago, on an internet hunt, I found a copy of the late departed Bo Diddley’s Beach Party for sale and ordered it. It finally arrived today. So now, when Lee’s birthday comes around, I’ve gotten him a gift that I know he’s gonna dig, at least more than he did the last Christmas president I got him, an autographed copy of a mystery set on Folly Beach that Lee pegged as the worst novel ever published in the United States.
I’ll leave you with this:
[1] Back then, most albums cost under three bucks.
[2] If you’re gonna get all grammatical on me and say the “away” is unnecessary, I’ll respond by saying that it’s an allusion to Buddy Holly’s “Not Fade Away,” which uses the Bo Diddley beat.
Willie Mae “Big Mama Thornton” by Nick Young
A couple of weeks ago when I was luxuriating in vast open freedom of spring break, the musician Howard Dlugasch and I sat at the bar at the newly opened Jack of Cups Saloon (nee Brew Pub) on Folly discussing the difficulties local musicians face in performing original compositions at bar gigs. “No,” he said, “They don’t want to hear originals. They all want to hear covers. They all want to hear Journey.”
Howard’s lament got me thinking about covers themselves, and I began cataloging what I consider the greatest covers of all time, a Herculean task if you stop to think about it. I immediately jettisoned jazz, decided to limit my purview to rock and folk. After racking my brain, I decided to limit my list to five, and certainly many will disagree with the following choices.
Before I announce my top five, though, I ought to provide the criteria I used in the construction of this pantheon.
1) The original song had to be significant in both its music and content. By content I mean both the degree of significance of the lyrics’ poetic purpose and the poetic quality of the lyrics themselves. Alas, this criterion eliminates Hendrix’s great cover of “Wild Thing.”
2) The cover of the song had to make the song, as Ezra Pound would say, new.
3) The musicianship had to be first class.
Rather than attempting to rank the covers from “grooviest” to least “groovy,”¹ I’ve copped out by presenting the 5 Greatest Covers of all time in chronological order from oldest cover to most recent.
¹I retrieved these vintage terms from the Teen Beat files located in the adolescent wing of my memory museum.
Elvis Presley’s cover of Big Mama Thornton’s recording of Jerry Leiber and Mike Stoller’s “Hound Dog” Thornton’s 1953 recording is killer, backed by badass bass and drumming and some imitative barking. Hit the arrow for a 20 secondish listen:
https://wlm3.com/wp-content/uploads/2014/04/13_hound_dog-mp3cut-net-4.mp3
Before Presley, others had recorded the song, and some critics claim that Presley was actually covering a Bob Wills cover or a Freddie Bell and the Bellboys cover. Nevertheless, Presley was aware of and liked the Thornton original, and so I contend he’s covering the original, not a covering a cover. At any rate, Elvis and his producer Steve Sholes have twanged the tune to rockabilly with some aggressive drum rolling.https://wlm3.com/wp-content/uploads/2014/04/01-hound-dog-mp3cut-net.mp3
Next comes the Animals cover of the traditional folk song “Rising Sun Blues,” a song whose roots go to 18th Century England and a popular genre called “the Unfortunate Rake.” Immigrants transported the song across the Atlantic and transplanted the setting to New Orleans. Some contend the song’s narrator is a woman turned whore after being abandoned by a rake, which is the scenario Dylan employs in his cover, a recording that precedes the Animals’. The earliest recorded version is by Clarence “Tom” Ashley in 1934, which tells the tale from a male perspective. Here’s a snippet from an early ’60’s version by Ashley and the great Doc Watson. Note the featured lyrics are much different from the Animals version.
Ashley/Watson: https://wlm3.com/wp-content/uploads/2014/04/1-06-rising-sun-blues-mp3cut-net.mp3
The Animals:https://wlm3.com/wp-content/uploads/2014/04/01-house-of-the-rising-sun-mp3cut-net.mp3
Electric guitarist Hilton Valentine’s minor key arpeggio and Alan Price’s organ transform the song into what the critic Dave Marsh called “the first rock folk hit.”
Jimi Hendrix’s 1968 recording of Bob Dylan’s 1967 release “All Along the Watchtower.”
Dylan: https://wlm3.com/wp-content/uploads/2014/04/04-all-along-the-watchtower-mp3cut-net.mp3
Hendrix: https://wlm3.com/wp-content/uploads/2014/04/05-all-along-the-watchtower-mp3cut-net.mp3
Now, that’s what I call making it new.
The Doors 1970 live version of Bo Diddley’s “Who Do You Love” This selection is perhaps the most controversial. However, I’m going with it. Listen.
Bo Diddley:https://wlm3.com/wp-content/uploads/2014/04/08-who-do-you-love-bo_-mp3cut-net.mp3
The Doors: https://wlm3.com/wp-content/uploads/2014/04/02-who-do-you-love-doors-mp3cut-net.mp3
Also, perhaps, controversial, I rank Patti Smith’s 2007 cover of Nirvana’s 1991 “Smells like Teen Spirit” in the top five. Here Smith substitutes banjos and fiddles for electric guitars and replaces Cobain’s solo with a poem that elevates the song from an anthem of teen angst to some sort of post apocalyptic nightmare.
Nirvana: https://wlm3.com/wp-content/uploads/2014/04/05-smells-like-teen-spirit-mp3cut-net-2.mp3
Patti Smith: https://wlm3.com/wp-content/uploads/2014/04/10-smells-like-teen-spirit-mp3cut-net.mp3
Well, there you go. Would love to hear some comments. Obviously, I also stayed away from soul music because rating covers there would be almost as hard as jazz. Also, I’ve dissed Janis, whose cover of “Piece of My Heart” should probably bump Morrison and Smith off this list.
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correct_death_00084
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3
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https://www.sgvtribune.com/2008/06/02/rock-pioneer-bo-diddley-dead-at-79-2/
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en
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Rock pioneer Bo Diddley dead at 79
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2008-06-02T00:00:00
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RELATED LINKS: » Bo Diddley’s discography » The best of Bo Diddley Video: Bo Diddley in action JACKSONVILLE, Fla. – Bo Diddley, a founding father of rock `n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He […]
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San Gabriel Valley Tribune
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https://www.sgvtribune.com/general-news/20080602/rock-pioneer-bo-diddley-dead-at-79/
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» The best of Bo Diddley
JACKSONVILLE, Fla. – Bo Diddley, a founding father of rock `n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation.
The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood’s Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton.
Diddley appreciated the honors he received, “but it didn’t put no figures in my checkbook.”
“If you ain’t got no money, ain’t nobody calls you honey,” he quipped.
The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview.
“I don’t know where the kids got it, but the kids in grammar school gave me that name,” he said, adding that he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow.
His first single, “Bo Diddley,” introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as “shave and a haircut, two bits.” The B side, “I’m a Man,” with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars.
Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley’s Chess recordings “stand among the best singular recordings of the 20th century.”
Diddley’s other major songs included, “Say Man,” “You Can’t Judge a Book by Its Cover,” “Shave and a Haircut,” “Uncle John,” “Who Do You Love?” and “The Mule.”
Diddley’s influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song “Not Fade Away.”
The Rolling Stones’ bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of “I’m a Man.”
Diddley was also one of the pioneers of the electric guitar, adding reverb and tremelo effects. He even rigged some of his guitars himself.
“He treats it like it was a drum, very rhythmic,” E. Michael Harrington, professor of music theory and composition at Belmont University in Nashville, Tenn., said in 2006.
Many other artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley’s style.
Growing up, Diddley said he had no musical idols, and he wasn’t entirely pleased that others drew on his innovations.
“I don’t like to copy anybody. Everybody tries to do what I do, update it,” he said. “I don’t have any idols I copied after.”
“They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there,” he said.
Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida.
“Seventy ain’t nothing but a damn number,” he told The Associated Press in 1999. “I’m writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain’t quit yet.”
Diddley, like other artists of his generations, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances.
“I am owed. I’ve never got paid,” he said. “A dude with a pencil is worse than a cat with a machine gun.”
In the early 1950s, Diddley said, disc jockeys called his type of music, “Jungle Music.” It was Cleveland disc jockey Alan Freed who is credited with inventing the term “rock `n’ roll.”
Diddley said Freed was talking about him, when he introduced him, saying, “Here is a man with an original sound, who is going to rock and roll you right out of your seat.”
Diddley won attention from a new generation in 1989 when he took part in the “Bo Knows” ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson’s guitar skills, Diddley turned to the camera and said, “He don’t know Diddley.”
“I never could figure out what it had to do with shoes, but it worked,” Diddley said. “I got into a lot of new front rooms on the tube.”
Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother’s cousin and took on the name Ellis McDaniel, which his wife always called him.
When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners.
By his early teens, Diddley was playing Chicago’s Maxwell Street.
“I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don’t have the same impact that I had,” he said.
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FactBench
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https://ultimateclassicrock.com/lady-bo-dies/
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en
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Lady Bo, the ‘Mother of Rock ‘n’ Roll,’ Dies at 75
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2015-09-21T13:20:56+00:00
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Lady Bo, the 'Mother of Rock 'n' Roll,' died in September 2015.
|
en
|
Ultimate Classic Rock
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https://ultimateclassicrock.com/lady-bo-dies/
| ||||||
correct_death_00084
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FactBench
|
0
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https://study.com/academy/lesson/bo-diddley-biography-songs-death.html
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en
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In order to continue enjoying our site, we ask that you confirm your identity as a human. Thank you very much for your cooperation.
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correct_death_00084
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FactBench
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1
| 6
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https://www.theguardian.com/world/2008/jun/02/usa.musicnews
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en
|
Musician Bo Diddley dies aged 79
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2008-06-02T00:00:00
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<p>Bo Diddley, the rhythm and blues musician whose name became synonymous with a distinctive choppy rhythm that shaped rock and roll, died today</p>
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en
|
the Guardian
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https://www.theguardian.com/world/2008/jun/02/usa.musicnews
|
Bo Diddley, the rhythm and blues musician whose name became synonymous with a distinctive choppy rhythm that shaped rock and roll, died today.
The 79-year-old singer and guitarist had suffered a heart attack in August, three months after having a stroke while on tour in Iowa. He died at home in Florida of heart failure.
Wearing horn-rimmed glasses, a black Stetson and playing a homemade box-shaped guitar, Diddley cut a distinctive figure among the first generation of rock and rollers. But he never achieved the fame or fortune of contemporaries such as Chuck Berry and Little Richard.
His first single, however, was arguably as influential as anything recorded by the pioneers of rock and roll.
Hey, Bo Diddley, a tale of rural infidelity released in 1955, introduced the "shave and a haircut, two bits rhythm" that Diddley made his own, and which was subsequently absorbed by artists from Buddy Holly to David Bowie.
The single's B-side, I'm A Man, introduced rock and roll to another element of the genre's DNA, humour. Its boastful lyrics – "All you pretty women/Stand in line/I can make love to you baby/In an hour's time" – were a parody of macho pride.
Almost a decade later the song gave the British group the Yardbirds a US hit.
Diddley, who was born Ellas Bates in 1928 in Mississippi, claimed that he never received due financial reward for his music. Like most musicians in the early 1950s, he was paid a flat fee for his groundbreaking recordings, and never received royalties.
"I am owed. I've never got paid," he told an interviewer in the 1990s. "A dude with a pencil is worse than a cat with a machine gun."
Possibly because of the lack of riches, or his humble roots and religious background, Diddley survived the ups and downs of an uneven career longer than most of his contemporaries.
"When I first became famous, it really freaked me out," he once said. "I mean, it didn't seem real. I said, 'Wow, I got a hit record! Little ol' me!' I didn't know what to do with it, but then I turned around and faced it. I come from a very religious background, and I figured I was being given a chance and I wasn't about to let it slip by. Maybe that's why I'm still around and others aren't."
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correct_death_00084
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FactBench
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1
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http://www.floridahistorynetwork.com/june-2-2008---bo-diddley-79-dies-at-his-home-in-archer.html
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en
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Bo Diddley, 79, dies at his home in Archer
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The Bo Diddley beat can be heard on countless records, including "Wille and the Hand Jive" by Johnny Otis Show, "Hey Little Girl" by Brownsville Station, "Shame Shame Shame" by Shirley and Company, "Volcano" by Jimmy Buffet, "Please Go Home" by the Rollin
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en
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Florida History Network - Your one-stop source for celebrating and preserving Florida's past, today
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http://www.floridahistorynetwork.com/june-2-2008---bo-diddley-79-dies-at-his-home-in-archer.html
| ||||
correct_death_00084
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FactBench
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2
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https://github.com/ErikPartridge/comp-551-5-dataset/blob/master/questions_valid.txt
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en
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comp-551-5-dataset/questions_valid.txt at master · ErikPartridge/comp-551-5-dataset
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https://opengraph.githubassets.com/b7d5069468ad18d5c5e46b7ada50e889fb9caaddb6377476450b4fb2c987a141/ErikPartridge/comp-551-5-dataset
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https://opengraph.githubassets.com/b7d5069468ad18d5c5e46b7ada50e889fb9caaddb6377476450b4fb2c987a141/ErikPartridge/comp-551-5-dataset
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Contribute to ErikPartridge/comp-551-5-dataset development by creating an account on GitHub.
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en
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GitHub
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https://github.com/ErikPartridge/comp-551-5-dataset/blob/master/questions_valid.txt
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Bo Diddley (Bo Diddley): Artist Biography
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2020-08-11T19:02:20+00:00
|
Bo Diddley (Bo Diddley): Artist Biography - Salve Music - Bio - Biographies of musicians - Personal life - Interesting facts - Encyclopedia of music
|
en
|
Salve Music
|
https://en.salvemusic.com.ua/bo-diddley-bo-diddli-biografiya-artista/
|
Bo Diddley had a difficult childhood. However, difficulties and obstacles helped to create an international artist out of Bo. Diddley is one of the creators of rock and roll.
The unique ability of the musician to play the guitar turned him into a legend. Even the death of the artist could not "trample" the memory of him into the ground. The name of Bo Diddley and the legacy he left behind are immortal.
Childhood and youth of Ellas Ota Bates
Ellas Ota Bates (real name of the singer) was born December 30, 1928 in McComb, Mississippi. The boy was raised by his mother's cousin Juzy McDaniel, whose last name Ellas took.
In the mid-1930s, the family moved to a black area in Chicago. Soon he got rid of the word "Ota" and became known as Ellas McDaniel. Then he was first imbued with rock and roll motives.
In Chicago, the guy was an active parishioner of the local Ebenezer Baptist Church. There he mastered playing several musical instruments. Soon, almost every resident of Chicago learned about Ellas's talent. The director of the music school invited him to become part of his own ensemble.
Ellas preferred rhythmic music. That is why he decided to master the guitar. Inspired by the performance of John Lee Hooker, the young musician began working with Jerome Green. At first, music did not give Ellas income, so he began to earn extra money as a carpenter and mechanic.
The creative path of Bo Diddley
Some performances on the street were not enough for the musician. His talent did not develop. Soon, Ellas and several like-minded people created the Hipsters group. Over time, the musicians began performing under the name Langley Avenue Jive Cats.
The performances of the ensemble took place on the streets of Chicago. The guys positioned themselves as street artists. In the mid-1950s, Ellas joined forces with Billy Boy Arnold, who was an excellent harmonica player, and Clifton James, drummer and bassist Roosevelt Jackson.
In this composition, the musicians released the first demos. We are talking about the songs I'm a Man and Bo Diddley. A little later, the tracks were re-recorded. The quintet resorted to the services of backing vocalists. The debut collection was released in 1955. The musical composition Bo Diddley has become a real hit in rhythm and blues. During this period of time, Ellas was given the nickname Bo Diddley.
In the mid-1950s, the musician became a member of The Ed Sullivan Show. The TV project staff heard Ellas humming the Sixteen Tons track in the locker room. They asked to perform this particular musical composition on the show.
Not without scandals
Ellas agreed, but misinterpreted the request. The musician decided that he should perform both the track that was originally agreed upon and Sixteen Tons. The host of the program was beside himself with the antics of the young artist and forbade him to appear on the show for the past 6 months.
A cover version of the Sixteen Tons song was included on the Bo Diddley Is a Gunslinger album. The record came out in 1960. This is one of the artist's most recognizable tracks.
In 1950-1960, Bo Diddley released a number of "juicy" compositions. The most memorable songs of that time were the tracks:
Pretty Thing (1956);
Say Man (1959);
You Can't Judge a Book by the Cover (1962).
Musical compositions, as well as unsurpassed specific guitar playing, made Bo Diddley a real star. From the late 1950s to 1963 the artist has released 11 full-length studio albums.
In the mid-1960s, Bo Diddley visited the UK with his show. The artist performed on stage with the Everly Brothers and Little Richard. It is interesting that the favorites of the public, the Rolling Stones, performed as the opening act for the musicians.
Bo Diddley filled his own repertoire. Sometimes he wrote for other representatives of the stage. For example, Love is Strange for Jody Williams or Mama (Can I Go Out) for Jo Ann Campbell.
Bo Diddley soon left Chicago. The musician moved to Washington. There, the artist created the first home recording studio. He used it not only for his own purposes. Diddley often recorded in the studio for his protégés.
Over the next 10 years, Bo Diddley gathered fans at his concerts. The musician performed not only in large stadiums, but also in small clubs. The artist sincerely believed that the point was not in the place, but in the audience.
Interesting facts about Bo Diddley
The highlight and, in some way, the discovery of the musician was the so-called “beat of Bo Diddley”. Music critics note that "Bo Diddley's beat" is a kind of competition at the intersection of rhythm and blues and African music.
The musical compositions of the celebrity are one of the most popular among the tracks that are covered.
Some call Bo Diddley the pioneer of rock music.
The guitar last played by Bo Diddley sold at auction for $60.
Bo Diddley is one of the 20 famous artists in the history of rock and roll.
The end of Bo Diddley's career
Since 1971, the musician moved to the provincial town of Los Lunas in New Mexico. Interestingly, during this period of time he tried himself in a profession that was far from creativity. Beau took over as sheriff. But meanwhile, he did not leave his favorite pastime - music. The artist also announced himself as a patron of the arts. Diddley donated several cars to the police.
In 1978, the musician moved to sunny Florida. There, a luxurious estate was built for the artist. Interestingly, the artist himself took part in the construction of the house.
A year later, he acted as "heating" for the Clash during their tour in the United States of America. In 1994, Bo Diddley performed on the same stage with the legendary Rolling Stones. He sang the song Who Do You Love? with her.
The Bo Diddley team continued to perform. Since 1985, musicians have rarely released compilations. But a nice bonus is that the composition of the ensemble has not changed since the mid-1980s. Bo Diddley himself did not want this, claiming that he played with his group to the last.
Bo Diddley and his team in 2005 went to the United States of America with their concert program. In 2006, the band performed at a charity concert in Ocean Springs, which was badly damaged by Hurricane Katrina.
The last years of Bo Diddley's life
Two years later, Bo Diddley got in trouble. The artist was hospitalized right from the stage. The musician had a stroke. He recovered for a long time, because he could not talk. Singing and playing musical instruments were out of the question.
The artist died on June 2, 2008. He died of a heart attack. At the time of his death, the musician lived in his house in Florida. On the day of Bo's death, Diddley was surrounded by relatives. One of the family members said that the artist's last words were the sentence "I'm going to heaven."
|
|||||
correct_death_00084
|
FactBench
|
0
| 73
|
https://www2.ljworld.com/news/2008/jun/03/rock_icon_bo_diddley_dies_79/
|
en
|
Rock icon Bo Diddley dies at 79
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[
"Arts and Entertainment",
"Rock icon Bo Diddley dies at 79News",
"Rock icon Bo Diddley dies at 79"
] | null |
[] |
2008-06-03T00:00:00
|
Before Buddy Holly did it, before the Rolling Stones, Bruce Springsteen and a million unknown garage bands, there was Bo Diddley - an
|
en
|
https://www2.ljworld.com/wp-content/themes/coreV3_lazy/favicon.ico
|
LJWorld.com
|
https://www2.ljworld.com/news/2008/jun/03/rock_icon_bo_diddley_dies_79/
|
Before Buddy Holly did it, before the Rolling Stones, Bruce Springsteen and a million unknown garage bands, there was Bo Diddley – and the beat that bears his name.
Diddley, a Rock and Roll Hall of Famer and one of the genre’s undisputed icons, died Monday at his 76-acre spread in rural Archer, Fla., about 10 miles out of Gainesville. He was 79.
The inventor of the Bo Diddley beat – chunk-a-chunk-chuck, a-chunk-chunk – had suffered a heart attack in August. Three months before that, he had a stroke while on tour in Iowa. It had affected his speech, and he had returned to Archer to recuperate.
Even so, musicians and music fans were shocked and saddened by the news.
“It’s a very depressing day,” said Diddley’s neighbor William McKeen, an author and journalism chair at the University of Florida, where he teaches an annual course on rock history. “I wasn’t ready for Bo Diddley to go.”
Before the beat, he was born Ellas Bates on Dec. 30, 1928, in McComb, Miss. He first listened to music in church and received his initial guitar as a Christmas gift from his sister when he was 11:
“My mama like to kill her,” Diddley told the Orlando Sentinel in 2002. “I came from a real religious family, and they didn’t allow no guitar playing in the house.”
In 1955, Diddley signed with Chess Records in Chicago. He traced the signature beat behind “Bo Diddley” and “I’m a Man” to his attempts to play the country sing “I’ve Got Spurs That Jingle Jangle Jingle.”
The arrival of Diddley and Muddy Waters at Chess began the evolution of blues into rock ‘n’ roll, although the early black musicians were overshadowed by the arrival of Elvis Presley.
“Elvis was fantastic, but he did not start it,” Diddley told the Sentinel. “He was 2 1/2 years behind me.”
Bitterness over unfair deals marked Diddley’s latter years, which he spent in Archer on property he cleared himself in the late 1980s. McKeen occasionally invited his famous neighbor to speak to his rock history classes, without success.
“I don’t think he needed the stroking of being in a university classroom to remind him of his place in rock ‘n’ roll history,” McKeen says. “If you could copyright a style, then he could’ve sued everybody for copyright infringement.”
|
||||
correct_death_00084
|
FactBench
|
3
| 26
|
https://www.cbsnews.com/news/rock-legend-bo-diddley-dies/
|
en
|
Rock Legend Bo Diddley Dies
|
[] |
[] |
[] |
[
""
] | null |
[] |
2008-06-02T12:15:33-04:00
|
Musical Pioneer Known For Trademark Black Hat And Glasses Died Of Heart Failure At 79
|
en
|
https://www.cbsnews.com/news/rock-legend-bo-diddley-dies/
|
Bo Diddley, a founding father of rock 'n' roll whose distinctive "shave and a haircut, two bits" rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation.
The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood's Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton.
Diddley appreciated the honors he received, "but it didn't put no figures in my checkbook."
"If you ain't got no money, ain't nobody calls you honey," he quipped.
The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview.
"I don't know where the kids got it, but the kids in grammar school gave me that name," he said, adding that he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow.
His first single, "Bo Diddley," introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as "shave and a haircut, two bits." The B side, "I'm a Man," with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars.
Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley's Chess recordings "stand among the best singular recordings of the 20th century."
Diddley's other major songs included, "Say Man," "You Can't Judge a Book by Its Cover," "Shave and a Haircut," "Uncle John," "Who Do You Love?" and "The Mule."
Diddley's influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song "Not Fade Away."
The Rolling Stones' bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of "I'm a Man."
Diddley was also one of the pioneers of the electric guitar, adding reverb and tremelo effects. He even rigged some of his guitars himself.
"He treats it like it was a drum, very rhythmic," E. Michael Harrington, professor of music theory and composition at Belmont University in Nashville, Tenn., said in 2006.
Many other artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley's style.
Growing up, Diddley said he had no musical idols, and he wasn't entirely pleased that others drew on his innovations.
"I don't like to copy anybody. Everybody tries to do what I do, update it," he said. "I don't have any idols I copied after."
"They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there," he said.
Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida.
"Seventy ain't nothing but a damn number," he told The Associated Press in 1999. "I'm writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain't quit yet."
Diddley, like other artists of his generations, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances.
"I am owed. I've never got paid," he said. "A dude with a pencil is worse than a cat with a machine gun."
In the early 1950s, Diddley said, disc jockeys called his type of music, "Jungle Music." It was Cleveland disc jockey Alan Freed who is credited with inventing the term "rock 'n' roll."
Diddley said Freed was talking about him, when he introduced him, saying, "Here is a man with an original sound, who is going to rock and roll you right out of your seat."
Diddley won attention from a new generation in 1989 when he took part in the "Bo Knows" ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson's guitar skills, Diddley turned to the camera and said, "He don't know Diddley."
"I never could figure out what it had to do with shoes, but it worked," Diddley said. "I got into a lot of new front rooms on the tube."
Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother's cousin and took on the name Ellis McDaniel, which his wife always called him.
When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners.
By his early teens, Diddley was playing Chicago's Maxwell Street.
"I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don't have the same impact that I had," he said.
|
||||||
correct_death_00084
|
FactBench
|
0
| 24
|
https://www.rollingstone.com/music/music-news/bo-diddley-dead-at-age-79-100863/
|
en
|
Bo Diddley Dead at Age 79
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[
"Rolling Stone"
] |
2008-06-02T16:08:59+00:00
|
Bo Diddley, one of the founding fathers of rock and roll, died today in his home in Archer, Florida, where he had lived for 20 years. The cause was heart failure, according to a spokesperson.
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-news/bo-diddley-dead-at-age-79-100863/
|
Bo Diddley, one of the founding fathers of rock and roll, died today in his home in Archer, Florida, where he had lived for 20 years. The cause was heart failure, according to a spokesperson. Diddley performed live until May 2007, when he suffered a stroke; three months later, in August, he also suffered a heart attack. The spokesperson said that he was surrounded by family and friends when he died. Public and private services are scheduled for this weekend.
In the summer of 2005, Rolling Stone writer Neil Strauss caught up with Diddley for the magazine’s last major feature on him, the award-winning “Indestructible Beat of Bo Diddley.”
• The Indestructible Beat of Bo Diddley by Neil Strauss (RS 981, August 25, 2005)
• The 100 Greatest Artists of All Time: Bo Diddley by Iggy Pop (RS 946, April 15, 2004)
Trending
• Bo Diddley: The Rolling Stone Interview by Kurt Loder (RS 493, February 12, 1987)
• Photo Gallery: Shots From Bo Diddley’s Five Decade Career
|
|||||
correct_death_00084
|
FactBench
|
1
| 87
|
https://www.mopop.org/exhibitions-plus-events/exhibitions/black-history-month-pop-up/
|
en
|
Black History Month Dispersed Gallery
|
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[
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Check out our new pop-up exhibition, Black History Month Dispersed Gallery opening on Thursday, Jan. 11.
|
en
|
/media/1032/favicon.png?width=32&height=32
|
Museum of Pop Culture
|
https://www.mopop.org/exhibitions-plus-events/exhibitions/black-history-month-pop-up/
|
Bo Diddley and his Orchestra, the Soulful Deacons and their Orchestra, at the Crystal Ballroom, Portland, Oregon, July 2, 1967
Diddley’s songs regularly charted on the US R&B and Pop charts for a decade after his first record debuted in 1955. By the mid-1960s his prominence on the charts had waned, but his influence and legacy continued to grow due to his iconic sound, enduring hits, and incessant touring schedule, including this stop in Portland in 1967. He continued to regularly record and tour until he suffered from a heart attack in 2007.
MoPOP Permanent Collection
|
||||
correct_death_00084
|
FactBench
|
3
| 4
|
https://www.npr.org/2008/06/02/14035992/rock-pioneer-bo-diddley-dies-at-79
|
en
|
Rock Pioneer Bo Diddley Dies at 79
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[] |
[] |
[
""
] | null |
[
"Neda Ulaby"
] |
2008-06-02T00:00:00
|
One of the fathers of rock 'n' roll, Bo Diddley was born Ellas Bates in Mississippi and grew up in Chicago, where he played guitar on street corners before being discovered by Chess Records. Diddley leaves behind a sound that helped build a musical movement.
|
en
|
NPR
|
https://www.npr.org/2008/06/02/14035992/rock-pioneer-bo-diddley-dies-at-79
|
One of the fathers of rock 'n' roll died Monday at the age of 79. Bo Diddley was born Ellas Bates in Mississippi and grew up in Chicago, where he played guitar on street corners before being discovered by Chess Records. He leaves behind a sound that helped build a musical movement.
Diddley's signature rhythm, among the most distinctive beats in rock 'n' roll, can be heard on songs like "Who Do You Love?" and "Bo Diddley." Scholars trace the pattern to church tambourines, West African drumming, and a hand-patting rhythm called Hambone that goes back to slavery. But Diddley told the public radio show American Routes that he found it someplace else.
"I was trying to play 'I Got Spurs That Jingle Jangle Jingle' by Gene Autrey, and stumbled upon that beat," Diddley said.
The beat may have come from a television cowboy, but later, Diddley described it as "basically an Indian chant."
"Just picture dancing around a daggone big fire, dancing around with their spears," he told Morning Edition in an interview.
Regardless of the beat's source, music historian Peter Guralnick says that Diddley made it big enough for everyone.
"That was just an invitation for people to step into," Guralnick says. "Lots of people imitated it; lots of people carried it on."
These people included Eric Clapton, The Rolling Stones, Jimi Hendrix, and Bruce Springsteen.
"It's almost as if he foreshadowed James Brown in the sense in which rhythm predominated over melody and the usual conventions of pop songwriting," Guralnick says. "I think it's a tribute to Bo Diddley that it has lasted as long as it has."
But Diddley said that while rhythm was important, the secret to good songwriting lay in something else.
"A story with some funny lyrics, or some serious lyrics, or some love-type lyrics," Diddley said. "But you gotta think in terms of what people's lives is based on."
He took his own advice: Many of Bo Diddley's most famous songs were about Bo Diddley. Diddley was sent to Chicago as a child and adopted by his mother's sister. Deeply religious, she tried to steer the young man from the devil's music with violin lessons. He built violins and guitars at a vocational high school.
Diddley later met Gene Barge, a staffer at Chess Records.
"He was gifted with his hands," Barge says. "He loved to work on things: cars, record players, amplifiers. And he made his guitars. He crafted his whole sound."
Some of Diddley's guitars were custom-built to his specifications by the Gretsch company: shaped like stars or covered in fur. Barge says that long before Diddley worked audiences, he worked odd jobs and construction.
"He told me he was working one of the air hammers in the middle of the street that makes all this terrible noise," Barge says.
Diddley's music drew from the sounds of the Chicago streets where he first performed, and his name came from street-corner slang.
"Bo Diddley means that a guy was something extra-special or a real pistol," Barge says.
Barge says that in addition to playing rock, blues inspired by John Lee Hooker, calypso, and Latin-tinged blues, Bo Diddley was something of a comedian. He joined up with a female sideman –- the Duchess -– and Jerone Greene on maracas for songs like the 1958 hit "Say Man," which featured Greene and Diddley trading playful insults.
"Say Man" was Diddley's only Top 40 pop hit. His other classic tunes never crossed over from the R&B charts, and his style of rock eventually fell out of fashion. Diddley became bitter over how others had profited from his sound. He sold the rights to his songs to pay his bills, and his living came from constant touring. Toward the end of his career, Diddley toyed with rap and even returned — more or less — to his early classical training.
"I wrote a concerto that I wrote on the guitar," Diddley said. "It's called 'Bo's Concerto.'"
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correct_death_00084
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FactBench
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0
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https://www.thisdayinmusic.com/stairway-to-heaven/bo-diddley/
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en
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Bo Diddley
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[
"This Day In Music"
] |
2008-06-02T08:59:23+00:00
|
I’ve always liked an artist who can sing about themselves. The Stray Cats had “The Stray Cat Strut”, Mott The Hoople had “The Ballad Of Mott The Hoople”, Bob Dylan sang about “Bob Dylan’s 115th
|
en
|
This Day In Music
|
https://www.thisdayinmusic.com/stairway-to-heaven/bo-diddley/
|
I’ve always liked an artist who can sing about themselves. The Stray Cats had “The Stray Cat Strut”, Mott The Hoople had “The Ballad Of Mott The Hoople”, Bob Dylan sang about “Bob Dylan’s 115th Dream”. And Bo Diddley shouted “Hey! Bo Diddley”.
Mick Jagger stated: “His influence was so widespread that it is hard to imagine what rock and roll would have sounded like without him. “He was a wonderful, original musician who was an enormous force in music and was a big influence on The Rolling Stones”.
Tom Petty, Buddy Holly, The Stones, The Clash, The Kinks, The Animals, The New York Dolls and even those old hippies Grateful Dead have all covered songs by Ellas Otha Bates, while he was a seminal influence on the young Syd Barrett, co-founder of Pink Floyd.
Yes, I’m talking about Bo Diddley, “The Originator”, (as he was also known), who died of heart failure on 2 June 2008 aged 79. He played a key role in the transition from the blues to rock & roll, influencing a host of acts and even made a visual statement – his guitar shaped like a cigar box, (nicknamed “The Twang Machine”) became a style icon.
The unusual guitar design sprang from an embarrassing moment: after jumping around on stage with a Gibson L5 guitar, Bo 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.
Born in 1928, he was adopted and raised by his mother’s cousin, Gussie McDaniel, whose surname he assumed, becoming Ellas McDaniel. Bo was inspired musically after seeing John Lee Hooker and developed a career playing on Chicago street corners with friends in a band called The Hipsters.
McDaniel would adopt the stage name “Bo Diddley”. The origin of the name is somewhat unclear, as several differing stories and claims exist. Some sources state that it was his nickname as a teenage Golden Gloves boxer, while others claim that it originates from the one-stringed instrument called the diddley bow. Bo Diddley himself has said that the name first belonged to a singer his adoptive mother was familiar with.
In late 1954, he recorded demos of “I’m A Man” and “Bo Diddley”. They re-recorded the songs at Chess Studios. The record was released in March 1955, and the A-side, “Bo Diddley”, became a number 1 R&B hit and we all heard what became the “Bo Diddley beat,” also known in the US as ‘shave and haircut, 2 bits’.
He was one of the first American male musicians to include women in his band, including Norma-Jean Wofford (aka “The Duchess,” 1942-2005), Peggy Jones, Cornelia Redmond and Debby Hastings, who led his band for the final 25 years of his performing career.
Bo Diddley died 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, said: “There was a gospel song that was sung (at his bedside) and when it was done, Bo said ‘wow’ with a thumbs up, and in his last words he said ‘I’m going to heaven.'”
On June 5, 2009, the city of Gainesville, Florida, officially renamed and dedicated its downtown plaza the “Bo Diddley Community Plaza.”
|
|||||
correct_death_00084
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FactBench
|
3
| 67
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https://500songs.com/podcast/episode-30-bo-diddley-by-bo-diddley/
|
en
|
Episode 30: “Bo Diddley” by Bo Diddley
|
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[
"Andrew Hickey"
] |
2019-04-29T22:17:00+00:00
|
Welcome to episode thirty of A History of Rock Music in Five Hundred Songs. This is the last of our three-part look at Chess Records, and focuses on "Bo Diddley" by Bo Diddley. Click the full post to read liner notes, links to more information, and a transcript of the episode. Resources As always, I've created a…
|
en
|
A History of Rock Music in 500 Songs
|
https://500songs.com/podcast/episode-30-bo-diddley-by-bo-diddley/
|
Welcome to episode thirty of A History of Rock Music in Five Hundred Songs. This is the last of our three-part look at Chess Records, and focuses on “Bo Diddley” by Bo Diddley. Click the full post to read liner notes, links to more information, and a transcript of the episode.
Resources
As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.I accidentally used a later rerecording of “I Wish You Would” by Billy Boy Arnold on the playlist, but I use the correct version in the podcast itself. Sorry about that.
As this is part three of the Chess Records trilogy, you might want to listen to part one, on the Moonglows, and part two, on Chuck Berry, if you haven’t already.
Along with the resources mentioned in the previous two episodes, the resource I used most this time was Bo Diddley: Living Legend by George R. White, a strong biography told almost entirely in Diddley’s own words from interviews, and the only full-length book on Diddley.
This compilation contains Diddley’s first six albums plus a bunch of non-album and live tracks, and has everything you’re likely to want by Diddley on it, for under ten pounds.
If you want to hear more Muddy Waters after hearing his back-and-forth with Diddley, this double CD set is a perfect introduction to him.
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Transcript
Welcome to the final part of our trilogy about Chess Records. Last week, we looked at Chuck Berry. This week, we’re going to deal with someone who may even have been more important.
One of the many injustices in copyright law — and something that we’ll have a lot of cause to mention during the course of this series — is that, for the entire time period covered by this podcast, it was impossible to copyright a groove or a rhythm, but you could copyright a melody line and lyric. And this has led to real inter-racial injustice.
In general, black musical culture in the USA has emphasised different aspects of musical invention than white culture has. While white American musical culture — particularly *rich* white musical culture — has stressed inventive melodies and harmonic movement — think of, say, Burt Bacharach or George Gershwin — it has not historically stressed rhythmic invention. On the other hand, black musical culture has stressed that above everything else — you’ll notice that all the rhythmic innovations we’ve talked about in this series so far, like boogie woogie, and the backbeat, and the tresillo rhythm, all came from black musicians.
That’s not, of course, to say that black musicians can’t be melodically inventive or white musicians rhythmically — I’m not here saying “black people have a great sense of rhythm” or any of that racist nonsense. I’m just talking about the way that different cultures have prioritised different things.
But this means that when black musicians have produced innovative work, it’s not been possible for them to have any intellectual property ownership in the result. You can’t steal a melody by Bacharach, but anyone can play a song with a boogie beat, or a shuffle, or a tresillo… or with the Bo Diddley beat.
[Very short excerpt: “Bo Diddley”, Bo Diddley]
Elias McDaniel’s distinctive sound came about because he started performing so young that he couldn’t gain entrance to clubs, and so he and his band had to play on street corners. But you can’t cart a drum kit around and use it on the streets, so McDaniel and his band came up with various inventive ways to add percussion to the act. At first, they had someone who would come round with a big bag of sand and empty it onto the pavement. He’d then use a brush on the sand, and the noise of the brushing would provide percussion — at the end of the performance this man, whose name was Sam Daniel but was called Sandman by everyone, would sweep all the sand back up and put it back into his bag for the next show.
Eventually, though, Sandman left, and McDaniel hit on the idea of using his girlfriend’s neighbour Jerome Green as part of the act.
We heard Jerome last week, playing on “Maybellene”, but he’s someone who there is astonishingly little information about. He doesn’t even have a Wikipedia page, and you’ll find barely more than a few paragraphs about him online. No-one even knows when he was born or died – *if* he died, though he seems to have disappeared around 1972. And this is quite astonishing when you consider that Green played on all Bo Diddley’s classic records, and sang duet on a few of the most successful ones, *and* he played on many of Chuck Berry’s, and on various other records by Willie Dixon, Otis Spann, the Moonglows… yet when you Google him, the third hit that comes up is about Robson Green and Jerome Flynn, a nineties soft-pop duo who span out of a soap opera.
At first, Jerome’s job was to pass the hat around and collect the money, but McDaniel decided to build Jerome a pair of maracas, and teach him how to play. And he learned to play very well indeed, adding a Latin sound to what had previously been just a blues band.
Jerome’s maracas weren’t the only things that Elias McDaniel built, though. He had a knack for technology, though he was always rather modest about his own abilities. He built himself one of the very first tremelo systems for a guitar, making something out of old car bits and electronic junk that would break the electronic signal up. Before commercial tremelo systems existed, McDaniel was the only one who could make his guitar sound like that.
The choppy guitar, with its signal breaking up deliberately, and the maracas being shook frantically, gave McDaniel’s music a rhythmic drive unlike anything else in rock and roll.
McDaniel and his band eventually got their music heard by Leonard Chess at Chess Records. Chess was impressed by a song called “Uncle John”, which had lyrics that went “Uncle John’s got corn ain’t never been shucked/Uncle John’s got daughters ain’t never been… to school”; but he said the song needed less salacious lyrics, and he suggested retitling it “Bo Diddley”, which also became the stage name of the man who up until now had been called Elias McDaniel.
The new lyrics were inspired by the black folk song “Hambone”, which a few years earlier had become a novelty hit:
[Excerpt: “Hambone”, Red Saunders Orchestra with the Hambone Kids]
Now, I have to be a bit careful here, because here I’m talking about something that’s from a different culture from my own, and my understanding of it is that of an outsider. To *me*, “Hambone” seems to be a unified thing that’s part song, part dance, part game. But my understanding may be very, very flawed, and I don’t want to pretend to knowledge I don’t have. But this is my best understanding of what “Hambone” is.
“Hambone”, like many folk songs, is not in itself a single song, but a collection of different songs with similar elements. The name comes from a dance which, it is said, dates back to enslaved people attempting to entertain themselves. Slaves in most of the US were banned from using drums, because it was believed they might use them to send messages to each other, so when they wanted to dance and sing music, they would slap different parts of their own bodies to provide percussive accompaniment.
Now, I tend to be a little dubious of narratives that claim that aspects of twentieth-century black culture date back to slavery or, as people often claim, to Africa. A lot of the time these turn out to be urban myths of the “ring a ring a roses is about the bubonic plague” kind. One of the real tragedies of slavery is that the African culture that the enslaved black people brought over to the US was largely lost in the ensuing centuries, and so there’s a very strong incentive to try to find things that could be a continuation of that. But that’s the story around “Hambone”, which is also known as the “Juba beat”.
Another influence Diddley would always cite for the lyrical scansion is the song “Hey Baba Reba”, which he would usually misremember as having been by either Cab Calloway or Louis Jordan, but was actually by Lionel Hampton:
[Excerpt: Lionel Hampton, “Hey Baba Reba”]
But the important thing to note is that the rhythm of all these records is totally different from the rhythm of the song “Bo Diddley”. There’s a bit of misinformation that goes around in almost every article about Diddley, saying “the Bo Diddley beat is just the ‘Hambone’ beat”, and while Diddley would correct this in almost every interview he ever gave, the misinformation would persist — to the point that when I first heard “Hambone” I was shocked, because I’d assumed that there must at least have been some slight similarity. There’s no similarity at all.
And that’s not the only song where I’ve seen claims that there’s a Bo Diddley beat where none exists. As a reminder, here’s the actual Bo Diddley rhythm:
[Very short excerpt: Bo Diddley, “Bo Diddley”]
Now the PhD thesis on the development of the backbeat which I talked about back in episode two claims that the beat appears on about thirteen records before Diddley’s, mostly by people we’ve discussed before, like Louis Jordan, Johnny Otis, Fats Domino, and Roy Brown.
But here’s a couple of examples of the songs that thesis cites. Here’s “Mardi Gras in New Orleans” by Fats Domino:
[Excerpt: “Mardi Gras in New Orleans, Fats Domino]
And here’s “That’s Your Last Boogie”, by Joe Swift, produced by Johnny Otis:
[Excerpt: Joe Swift, “That’s Your Last Boogie”]
As you can hear, they both have something that’s *sort of* the Bo Diddley beat, but not really, among their other rhythms. It’s most notable at the very start of “That’s Your Last Boogie”
[Intro: “That’s Your Last Boogie”]
That’s what’s called a clave beat — it’s sort of like the tresillo, with an extra bom-bom on the end. Bom bom-bom, bom-bom. That’s not the Bo Diddley beat. The Bo Diddley beat actually varies subtly from bar to bar, but it’s generally a sort of chunk-a chunk-a-chunk a-chunk a-chunk ah. It certainly stresses the five beats of the clave, but it’s not them, and nor is it the “shave and a haircut, two bits” rhythm other people seem to claim for it.
Most ridiculously, Wikipedia even claims that the Andrews Sisters’ version of Lord Invader’s great calypso song, “Rum and Coca Cola”, has the Bo Diddley beat:
[Excerpt: “Rum and Coca Cola”, the Andrews Sisters]
Both records have maracas, but that’s about it. Incidentally, that song was, in the Andrews Sisters version, credited to a white American thief rather than to the black Trinidadian men who wrote it. Sadly appropriate for a song about the exploitation of Trinidadians for “the Yankee dollar”.
But none of these records have the Bo Diddley beat, despite what anyone might say. None of them even sound very much like Diddley’s beat at all.
The origins of the Bo Diddley beat were, believe it or not, with Gene Autry. We’ve talked before about Autry, who was the biggest Western music star of the late thirties and early forties, and who inspired all sorts of people you wouldn’t expect, from Les Paul to Hank Ballard. But Diddley hit upon his rhythm when trying to play Autry’s “I’ve Got Spurs That Jingle Jangle Jingle”.
[excerpt, Gene Autry, “I’ve Got Spurs that Jingle Jangle Jingle”]
No, I don’t see the resemblance either. But this ties back into what we were talking about last week, with the influence of country musicians on the blues and R&B musicians at Chess.
And if you become familiar with his later work, it becomes clear that Diddley truly loved the whole iconography of the Western, and country music. He did albums called “Have Guitar Will Travel” (named after the Western TV show “Have Gun Will Travel”) and “Bo Diddley is a Gunslinger”. Diddley’s work is rooted in black folklore — things like hambone, but also the figure of Stagger Lee and other characters like the Signifying Monkey — but it should be understood that black American folklore has always included the image of the black cowboy.
The combination of these influences – the “Hambone” lyrical ideas, the cowboy rhythm, and the swaggering character Diddley created for himself – became this:
[Excerpt: “Bo Diddley” by Bo Diddley]
The B-side to the record, meanwhile, was maybe even more important. It’s also an early example of Diddley *not* just reusing his signature rhythm. The popular image of Diddley has him as a one-idea artist remaking the same song over and over again — and certainly he did often return to the Bo Diddley beat — but he was a far more interesting artist than that, and recorded in a far wider variety of styles than you might imagine. And in “I’m A Man” he took on another artist’s style, beating Muddy Waters at his own game.
“I’m A Man” was a response to Waters’ earlier “Hoochie Coochie Man”:
[Excerpt: “Hoochie Coochie Man”, Muddy Waters]
“Hoochie Coochie Man” had been written for Muddy Waters by Willie Dixon and was, as far as I can tell, the first blues record ever to have that da-na-na na-na riff that later became the riff that for most people defines the blues.
“Hoochie Coochie Man” had managed to sum up everything about Waters’ persona in a way that Waters himself had never managed with his own songs. It combined sexual braggadocio with hoodoo lore — the character Waters was singing in was possessed of supernatural powers, from the day he was born, and he used those powers to “make pretty women jump and shout”. He had a black cat bone, and a mojo, and a John the Conqueror root.
It was a great riff, and a great persona, and a great record. But it was still a conventionally structured sixteen-bar blues, with the normal three chords that almost all blues records have.
But Bo Diddley heard that and decided that was two chords too many. When you’ve got a great riff, you don’t *need* chord changes, not if you can just hammer on that riff. So he came up with a variant of Dixon’s song, and called it “I’m a Man”. In his version, there was only the one chord:
[Excerpt: Bo Diddley, “I’m a Man”]
Willie Dixon guested on bass for that song, as it wasn’t felt that Diddley’s own bass player was getting the feeling right. There were also some changes made to the song in the studio — as Diddley put it later: “They wanted me to spell ‘man’, but they weren’t explaining it right. They couldn’t get me to spell ‘man’. I didn’t understand what they were talking about!”
But eventually he did sing that man is spelled m-a-n, and the song went on to be covered by pretty much every British band of the sixties, and become a blues standard. The most important cover version of it though was when Muddy Waters decided to make his own answer record to Diddley, in which he stated that *he* was a man, not a boy like Diddley. Diddley got a co-writing credit on this, though Willie Dixon, whose riff had been the basis of “I’m a Man”, didn’t.
[Excerpt: Muddy Waters, “Mannish Boy”]
And then there was Etta James’ answer record, “W.O.M.A.N.”, which once again has wild west references in it:
[Excerpt: Etta James, “W.O.M.A.N.”]
And that… “inspired” Jerry Leiber and Mike Stoller to write this for Peggy Lee:
[Excerpt: Peggy Lee, “I’m A Woman”]
Of course, none of those records, except Muddy Waters’, gave Bo Diddley a writing credit, just as Diddley didn’t credit Dixon for his riff.
At the same session as the single was recorded, Diddley’s harmonica player, Billy Boy Arnold, recorded a single of his own, backed by Diddley and his band. “I’m Sweet on you Baby” wasn’t released at the time, but it’s a much more straightforward blues song, and more like Chess’ normal releases. Chess were interested in making more records with Arnold, but we’ll see that that didn’t turn out well:
[Excerpt: Billy Boy Arnold, “I’m Sweet on you Baby”]
Despite putting out a truly phenomenal single, Diddley hit upon a real problem with his career, and one that would be one of the reasons he was never as popular as contemporaries like Chuck Berry. The problem, at first, looked like anything but. He was booked on the Ed Sullivan Show to promote his first single.
The Ed Sullivan Show was the biggest TV show of the fifties and sixties. A variety show presented by the eponymous Sullivan, who somehow even after twenty years of presenting never managed to look or sound remotely comfortable in front of a camera, it was the programme that boosted Elvis Presley from stardom to superstardom, and which turned the Beatles from a local phenomenon in the UK and Europe into the biggest act the world had ever seen.
Getting on it was the biggest possible break Diddley could have got, and it should have made his career. Instead, it was a disaster, all because of a misunderstanding.
At the time, the country song “Sixteen Tons” by Tennessee Ernie Ford was a big hit:
[Excerpt: “Sixteen Tons”, Tennessee Ernie Ford]
Diddley liked the song — enough that he would later record his own version of it:
[Excerpt: Bo Diddley, “Sixteen Tons”]
And so he was singing it to himself in his dressing room. One of the production staff happened to walk past and hear him, and asked if he could perform that song on the show. Diddley assumed he was being asked if he would do it as well as the song he was there to promote, and was flattered to be asked to do a second song.
[Excerpt: Ed Sullivan introducing “Dr Jive”, with all the confusion about what words he’s using]
When he got out on to the stage he saw the cue card saying “Bo Diddley Sixteen Tons”, assumed it meant the song “Bo Diddley” followed by the song “Sixteen Tons”, and so he launched into “Bo Diddley”. After all, why would he go on the show to promote someone else’s record? He was there to promote his own debut single. So of course he was going to play it.
This was not what the production person had intended, and was not what Ed Sullivan wanted. Backstage, there was a confrontation that got so heated that Diddley had to be physically restrained from beating Sullivan with his guitar after Sullivan called Diddley a “black boy” (according to Diddley, “black” at that time and in that place, was a racial slur, though it’s the polite term to use today). Sullivan yelled and screamed at Diddley and told him he would be blacklisted from network TV, and would certainly never appear on Sullivan’s show again under any circumstances. After that first TV appearance, it would be seven years until Diddley’s second.
And unlike all his contemporaries he didn’t even get to appear in films. Even Alan Freed, who greatly respected Diddley and booked him on his live shows, and who Diddley also respected, didn’t have him appear in any of the five rock and roll films he made. As far as I can tell, the two minutes he was on the Ed Sullivan show is the only record of Bo Diddley on film or video from 1955 through 1962.
And this meant, as well, that Chess put all their promotional efforts behind Chuck Berry, who for all his faults was more welcome in the TV studios. If Diddley wanted success, he had to let his records and live performances do the work for him, because he wasn’t getting any help from the media.
Luckily, his records were great. Not only was Diddley’s first hit one of the great two-sided singles of all time, but his next single was also impressive. The story of “Diddley Daddy” dates back to one of the white cover versions of “Bo Diddley”. Essex Records put out this cover version by Jean Dinning, produced by Dave Miller, who had earlier produced Bill Haley and the Comets’ first records:
[Excerpt: Jean Dinning, “Bo Diddley”]
And, as with Georgia Gibbs’ version of “Tweedle Dee”, the record label wanted to make the record sound as much like the original as possible, and so tried to get the original musicians to play on it, and made an agreement with Chess. They couldn’t get Bo Diddley himself, and without his tremelo guitar it sounded nothing like the original, but they *did* get Willie Dixon on bass, Diddley’s drummer Clifton James (who sadly isn’t the same Clifton James who played the bumbling sheriff in “Live and Let Die” and “Superman II”, though it would be great if he was), and Billy Boy Arnold on harmonica.
But Billy Boy Arnold made the mistake of going to Chess and asking for the money he was owed for the session. Leonard Chess didn’t like when musicians wanted paying, and complained to Bo Diddley about Arnold. Diddley told Arnold that Chess wasn’t happy with him, and so Arnold decided to take a song he’d written, “Diddy Diddy Dum Dum”, to another label rather than give it to Chess. He changed the lyrics around a bit, and called it “I Wish You Would”:
[Excerpt: Billy Boy Arnold, “I Wish You Would”]
Arnold actually recorded that for Vee-Jay Records on the very day that Bo Diddley’s second single was due to be recorded, and the Diddley session was held up because nobody knew where Arnold was. They eventually found him and got him to Diddley’s session — where Diddley started playing “Diddy Diddy Dum Dum”. Leonard Chess suggested letting Arnold sing the song, but Arnold said “I can’t — I just recorded that for VeeJay”, and showed Chess the contract.
Diddley and Harvey Fuqua, who was there to sing backing vocals with the rest of the Moonglows, quickly reworked the song. Arnold didn’t want to play harmonica on something so close to a record he’d just made, though he played on the B-side, and so Muddy Waters’ harmonica player Little Walter filled in instead. The new song, entitled “Diddley Daddy”, became another of Diddley’s signature songs:
[Excerpt: Bo Diddley, “Diddley Daddy”]
but the B-side, “She’s Fine, She’s Mine”, was the one that would truly become influential:
[Excerpt: Bo Diddley, “She’s Fine, She’s Mine”]
That song was later slightly reworked into this, by Willie Cobbs:
[Excerpt: Willie Cobbs, “You Don’t Love Me”]
That song was covered by pretty much every white guitar band of the late sixties — the Grateful Dead, Quicksilver Messenger Service, the Allman Brothers, Steve Stills and Al Kooper… the list goes on. But Cobbs’ song itself was also slightly reworked, by Dawn Penn, in 1967, and became a minor reggae classic. Twenty-seven years later, in 1994, Penn rerecorded her song, based on Cobbs’ song, based on Bo Diddley’s song, and it became a worldwide smash hit, with Diddley getting cowriting credit:
[Excerpt: Dawn Penn, “You Don’t Love Me (No, No, No)”]
And *that* has later been covered by Beyonce and Rhianna, and sampled by Ghostface Killah and Usher. And that’s how important Bo Diddley was at this point in time. The B-side to his less-good follow-up to his debut provided enough material for sixty years’ worth of hits in styles from R&B to jam band to reggae to hip-hop.
And the song “Bo Diddley” itself, of course, would provide a rhythm for generations of musicians to take, everyone from Buddy Holly:
[Excerpt: Buddy Holly, “Not Fade Away”]
to George Michael:
[Excerpt George Michael, “Faith”]
to U2:
[Excerpt: U2, “Desire”]
Because that rhythm was so successful – even though most of the success went to white people who didn’t credit or pay Diddley – people tend to think of Diddley as a one-idea musician, which is far from the truth. Like many of his contemporaries he only had a short period where he was truly inventive — his last truly classic track was recorded in 1962. But that period was an astoundingly inventive one, and we’re going to be seeing him again during the course of this series. In his first four tracks, Diddley had managed to record three of the most influential tracks in rock history. But the next time we look at him, it will be with a song he wrote for other people — a song that would indirectly have massive effects on the whole of popular music.
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https://cincygroove.com/2008/06/02/rock-pioneer-bo-diddley-dies-at-age-79/
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Rock pioneer Bo Diddley dies at age 79
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2008-06-02T00:00:00
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Bo Diddley, a founding father of rock 'n' roll whose distinctive "shave and a haircut, two bits" rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, Fla., spokeswoman
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Cincy Groove
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https://cincygroove.com/2008/06/02/rock-pioneer-bo-diddley-dies-at-age-79/
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Bo Diddley, a founding father of rock ‘n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation.
The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood’s Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton.
Diddley appreciated the honors he received, “but it didn’t put no figures in my checkbook.”
“If you ain’t got no money, ain’t nobody calls you honey,” he quipped.
The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview.
“I don’t know where the kids got it, but the kids in grammar school gave me that name,” he said, adding that he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow.
His first single, “Bo Diddley,” introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as “shave and a haircut, two bits.” The B side, “I’m a Man,” with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars.
Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley’s Chess recordings “stand among the best singular recordings of the 20th century.”
Diddley’s other major songs included, “Say Man,” “You Can’t Judge a Book by Its Cover,” “Shave and a Haircut,” “Uncle John,” “Who Do You Love?” and “The Mule.”
Diddley’s influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song “Not Fade Away.”
The Rolling Stones’ bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of “I’m a Man.”
Diddley was also one of the pioneers of the electric guitar, adding reverb and tremelo effects. He even rigged some of his guitars himself.
“He treats it like it was a drum, very rhythmic,” E. Michael Harrington, professor of music theory and composition at Belmont University in Nashville, Tenn., said in 2006.
Many other artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley’s style.
Growing up, Diddley said he had no musical idols, and he wasn’t entirely pleased that others drew on his innovations.
“I don’t like to copy anybody. Everybody tries to do what I do, update it,” he said. “I don’t have any idols I copied after.”
“They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there,” he said.
Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida.
“Seventy ain’t nothing but a damn number,” he told The Associated Press in 1999. “I’m writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain’t quit yet.”
Diddley, like other artists of his generations, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances.
“I am owed. I’ve never got paid,” he said. “A dude with a pencil is worse than a cat with a machine gun.”
In the early 1950s, Diddley said, disc jockeys called his type of music, “Jungle Music.” It was Cleveland disc jockey Alan Freed who is credited with inventing the term “rock ‘n’ roll.”
Diddley said Freed was talking about him, when he introduced him, saying, “Here is a man with an original sound, who is going to rock and roll you right out of your seat.”
Diddley won attention from a new generation in 1989 when he took part in the “Bo Knows” ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson’s guitar skills, Diddley turned to the camera and said, “He don’t know Diddley.”
“I never could figure out what it had to do with shoes, but it worked,” Diddley said. “I got into a lot of new front rooms on the tube.”
Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother’s cousin and took on the name Ellis McDaniel, which his wife always called him.
When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners.
By his early teens, Diddley was playing Chicago’s Maxwell Street.
“I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don’t have the same impact that I had,” he said.
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2008-04-19T16:38:12+00:00
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https://simple.wikipedia.org/wiki/Bo_Diddley
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Bo Diddley (born Ellas Bates, December 30, 1928 in McComb, Mississippi, died June 2, 2008 in Archer, Florida) was an American singer, guitarist and songwriter. He was one of the original rock and roll musicians; he, along with others, created rock music.
In 1955, he recorded and released his first songs. He is most famous for the rhythm which he has made popular in many of his recordings. The rhythm has become known as the Bo Diddley beat. Some of the most popular songs which feature the Bo Diddley beat include "Not Fade Away" and "I Want Candy", George Michael's song "Faith" and U2's song "Desire". Bo Diddley is also famous for the unusual shapes of many of his guitars, for his exciting stage shows and for his use of female musicians.
Bo Diddley made many appearances on radio, television and in the movies. In 1956, he co-wrote the popular song "Love Is Strange" for the singing duo Mickey and Sylvia.
Some of his most popular songs are: "I'm A Man" (1955), "Pretty Thing" (1955), "Bring It To Jerome" (1955), "Diddy Wah Diddy" (1955), "Who Do You Love" (1956), "Mona (I Need You Baby)" (1957), "Before You Accuse Me" (1957), "Crackin' Up" (1959), "Say Man" (1959), "Say Man, Back Again" (1959), "Road Runner" (1960), "Pills" (1961), "You Can't Judge A Book By The Cover" (1962) and "I Can Tell" (1962).
Bo Diddley often sang simple or amusing songs about himself. Some of these songs are "Bo Diddley" (1955), "Diddley Daddy" (1955), "Hey Bo Diddley" (1957), "Bo Meets The Monster" (1958), "Bo Diddley's A Gunslinger" (1960), "Just Like Bo Diddley" (1989), "Bo Diddley Is Crazy" (1996) and "Oops! Bo Diddley" (1996).
His songs have been recorded by many other popular recording artists, including Aerosmith, The Animals, Eric Clapton, Creedence Clearwater Revival, Dr. Feelgood, The Doors, Buddy Holly, Chris Isaak, New York Dolls, Quicksilver Messenger Service, Rolling Stones, Bob Seger, George Thorogood and The Destroyers, The Who and The Yardbirds.
In 2003, U.S. Representative John Conyers paid tribute to Bo Diddley in the United States House of Representatives when he described him as "one of the true pioneers of rock and roll, who has influenced generations".
In 2005, Bo Diddley celebrated his 50th anniversary in music with successful tours of Australia and Europe and with coast-to-coast shows across North America.
On June 2, 2008, Diddley died from heart failure at the age of 79.
Bo Diddley (1958)
Go Bo Diddley (1959)
Have Guitar Will Travel (1960)
Bo Diddley in the Spotlight (1960)
Bo Diddley Is a Gunslinger (1960)
Bo Diddley Is a Lover (1961)
Bo Diddley's a Twister (1962)
Bo Diddley (1962)
Bo Diddley & Company (1962)
Surfin' with Bo Diddley (1963)
Bo Diddley's Beach Party (1963)
Bo Diddley's 16 All-Time Greatest Hits (1964)
Two Great Guitars (with Chuck Berry) (1964)
Hey Good Lookin' (1965)
500% More Man (1965)
The Originator (1966)
Super Blues (with Muddy Waters & Little Walter) (1967)
Super Super Blues Band (with Muddy Waters & Howlin' Wolf) (1967)
The Black Gladiator (1970)
Another Dimension (1971)
Where It All Began (1972)
Got My Own Bag of Tricks (1972)
The London Bo Diddley Sessions (1973)
Big Bad Bo (1974)
20th Anniversary of Rock & Roll (1976)
I'm a Man (1977)
Ain't It Good To Be Free (1983)
Bo Diddley & Co - Live (1985)
Hey...Bo Diddley in Concert (1986)
Breakin' Through the BS (1989)
Living Legend (1989)
Rare & Well Done (1991)
Live at the Ritz (with Ronnie Wood) (1992)
This Should Not Be (1993)
Promises (1994)
A Man Amongst Men (1996)
Moochas Gracias (with Anna Moo) (2002)
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https://en.wikipedia.org/wiki/Elvis_Presley
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en
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Elvis Presley
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https://en.wikipedia.org/wiki/Elvis_Presley
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American singer and actor (1935–1977)
For other uses, see Elvis Presley (disambiguation).
"Elvis" and "King of Rock and Roll" redirect here. For other uses, see Elvis (disambiguation) and King of Rock and Roll (disambiguation).
Elvis Aaron Presley[a] (January 8, 1935 – August 16, 1977), known mononymously as Elvis, was an American singer and actor. Known as the "King of Rock and Roll", he is regarded as one of the most significant cultural figures of the 20th century. Presley's energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, brought both great success and initial controversy.
Presley was born in Tupelo, Mississippi; his family relocated to Memphis, Tennessee, when he was 13. His music career began there in 1954, at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on guitar and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. In 1955, drummer D. J. Fontana joined to complete the lineup of Presley's classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage him for the rest of his life. Presley's first RCA Victor single, "Heartbreak Hotel", was released in January 1956 and became a number-one hit in the United States. Within a year, RCA Victor would sell ten million Presley singles. With a series of successful television appearances and chart-topping records, Presley became the leading figure of the newly popular rock and roll; though his performative style and promotion of the then-marginalized sound of African Americans[6] led to him being widely considered a threat to the moral well-being of white American youth.
In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, he relaunched his recording career two years later with some of his most commercially successful work. Presley held few concerts, however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. Some of Presley's most famous films included Jailhouse Rock (1957), Blue Hawaii (1961), and Viva Las Vegas (1964). In 1968, he returned to the stage in the acclaimed NBC television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. However, years of prescription drug abuse and unhealthy eating severely compromised his health, and Presley died unexpectedly in August 1977 at his Graceland estate at the age of 42.
Presley is one of the best-selling music artists of all time, with sales estimated around 500 million records worldwide.[b] He was commercially successful in many genres, including pop, country, rockabilly, rhythm and blues, adult contemporary, and gospel. He won three Grammy Awards, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame. He holds several records, including the most RIAA-certified gold and platinum albums, the most albums charted on the Billboard 200, the most number-one albums by a solo artist on the UK Albums Chart, and the most number-one singles by any act on the UK Singles Chart. In 2018, Presley was posthumously awarded the Presidential Medal of Freedom.
Life and career
1935–1953: early years
Elvis Aaron Presley was born on January 8, 1935, in Tupelo, Mississippi, to Vernon and Gladys Love (née Smith) Presley. Elvis' twin Jesse Garon was delivered 35 minutes before, stillborn. Presley became close to both parents, especially his mother. The family attended an Assembly of God church, where he found his initial musical inspiration. Vernon moved from one odd job to the next, and the family often relied on neighbors and government food assistance. In 1938, they lost their home after Vernon was found guilty of altering a check and jailed for eight months.
In September 1941, Presley entered first grade at East Tupelo Consolidated, where his teachers regarded him as "average". His first public performance was a singing contest at the Mississippi–Alabama Fair and Dairy Show on October 3, 1945, when he was 10; he sang "Old Shep" and recalled placing fifth. A few months later, Presley received his first guitar for his birthday; he received guitar lessons from two uncles and a pastor at the family's church. Presley recalled, "I took the guitar, and I watched people, and I learned to play a little bit. But I would never sing in public. I was very shy about it."
In September 1946, Presley entered a new school, Milam, for sixth grade. The following year, he began singing and playing his guitar at school. He was often teased as a "trashy" kid who played hillbilly music. Presley was a devotee of Mississippi Slim's radio show. He was described as "crazy about music" by Slim's younger brother, one of Presley's classmates. Slim showed Presley chord techniques. When his protégé was 12, Slim scheduled him for two on-air performances. Presley was overcome by stage fright the first time but performed the following week.
In November 1948, the family moved to Memphis, Tennessee. Enrolled at L. C. Humes High School, Presley received a C in music in eighth grade. When his music teacher said he had no aptitude for singing, he brought in his guitar and sang a recent hit, "Keep Them Cold Icy Fingers Off Me". He was usually too shy to perform openly and was occasionally bullied by classmates for being a "mama's boy". In 1950, Presley began practicing guitar under the tutelage of Lee Denson, a neighbor. They and three other boys, including two future rockabilly pioneers, brothers Dorsey and Johnny Burnette—formed a loose musical collective.
During his junior year, Presley began to stand out among his classmates, largely because of his appearance: he grew his sideburns and styled his hair. He would head down to Beale Street, the heart of Memphis' thriving blues scene, and admire the wild, flashy clothes at Lansky Brothers. By his senior year, he was wearing those clothes. He competed in Humes' Annual "Minstrel" Show in 1953, singing and playing "Till I Waltz Again with You", a recent hit for Teresa Brewer. Presley recalled that the performance did much for his reputation:
I wasn't popular in school ... I failed music—only thing I ever failed. And then they entered me in this talent show ... when I came onstage, I heard people kind of rumbling and whispering and so forth, 'cause nobody knew I even sang. It was amazing how popular I became in school after that.
Presley, who could not read music, played by ear and frequented record stores that provided jukeboxes and listening booths. He knew all of Hank Snow's songs, and he loved records by other country singers such as Roy Acuff, Ernest Tubb, Ted Daffan, Jimmie Rodgers, Jimmie Davis, and Bob Wills. The Southern gospel singer Jake Hess, one of his favorite performers, was a significant influence on his ballad-singing style. Presley was a regular audience member at the monthly All-Night Singings downtown, where many of the white gospel groups that performed reflected the influence of African American spirituals. Presley listened to regional radio stations, such as WDIA, that played what were then called "race records": spirituals, blues, and the modern, backbeat-heavy rhythm and blues. Like some of his peers, he may have attended blues venues only on nights designated for exclusively white audiences. Many of his future recordings were inspired by local African-American musicians such as Arthur Crudup and Rufus Thomas. B.B. King recalled that he had known Presley before he was popular when they both used to frequent Beale Street. By the time he graduated high school in June 1953, Presley had singled out music as his future.
1953–1956: first recordings
Sam Phillips and Sun Records
In August 1953, Presley checked into Memphis Recording Service, the company run by Sam Phillips before he started Sun Records. He aimed to pay for studio time to record a two-sided acetate disc: "My Happiness" and "That's When Your Heartaches Begin". He later claimed that he intended the record as a birthday gift for his mother, or that he was merely interested in what he "sounded like". Biographer Peter Guralnick argued that Presley chose Sun in the hope of being discovered. In January 1954, Presley cut a second acetate at Sun—"I'll Never Stand in Your Way" and "It Wouldn't Be the Same Without You"—but again nothing came of it. Not long after, he failed an audition for a local vocal quartet, the Songfellows, and another for the band of Eddie Bond.
Phillips, meanwhile, was always on the lookout for someone who could bring to a broader audience the sound of the black musicians on whom Sun focused. In June, he acquired a demo recording by Jimmy Sweeney of a ballad, "Without You", that he thought might suit Presley. The teenaged singer came by the studio but was unable to do it justice. Despite this, Phillips asked Presley to sing other numbers and was sufficiently affected by what he heard to invite two local musicians, guitarist Winfield "Scotty" Moore and upright bass player Bill Black, to work with Presley for a recording session. The session, held the evening of July 5, proved entirely unfruitful until late in the night. As they were about to abort and go home, Presley launched into a 1946 blues number, Arthur Crudup's "That's All Right". Moore recalled, "All of a sudden, Elvis just started singing this song, jumping around and acting the fool, and then Bill picked up his bass, and he started acting the fool, too, and I started playing with them." Phillips quickly began taping; this was the sound he had been looking for. Three days later, popular Memphis disc jockey Dewey Phillips (no relation to Sam Phillips) played "That's All Right" on his Red, Hot, and Blue show. Listener interest was such that Phillips played the record repeatedly during the remaining two hours of his show. Interviewing Presley on-air, Phillips asked him what high school he attended to clarify his color for the many callers who had assumed that he was black. During the next few days, the trio recorded a bluegrass song, Bill Monroe's "Blue Moon of Kentucky", again in a distinctive style and employing a jury-rigged echo effect that Sam Phillips dubbed "slapback". A single was pressed with "That's All Right" on the A-side and "Blue Moon of Kentucky" on the reverse.
Early live performances and RCA Victor contract
The trio played publicly for the first time at the Bon Air club on July 17, 1954. Later that month, they appeared at the Overton Park Shell, with Slim Whitman headlining. Here Elvis pioneered "Rubber Legs", his signature dance movement. A combination of his strong response to rhythm and nervousness led Presley to shake his legs as he performed: His wide-cut pants emphasized his movements, causing young women in the audience to start screaming. Moore recalled, "During the instrumental parts, he would back off from the mike and be playing and shaking, and the crowd would just go wild."
Soon after, Moore and Black left their old band to play with Presley regularly, and disc jockey/promoter Bob Neal became the trio's manager. From August through October, they played frequently at the Eagle's Nest club, a dance venue in Memphis. When Presley played, teenagers rushed from the pool to fill the club, then left again as the house western swing band resumed. Presley quickly grew more confident on stage. According to Moore, "His movement was a natural thing, but he was also very conscious of what got a reaction. He'd do something one time and then he would expand on it real quick." Amid these live performances, Presley returned to Sun studio for more recording sessions. Presley made what would be his only appearance on Nashville's Grand Ole Opry on October 2; Opry manager Jim Denny told Phillips that his singer was "not bad" but did not suit the program.
Louisiana Hayride, radio commercial, and first television performances
In November 1954, Presley performed on Louisiana Hayride—the Opry's chief, and more adventurous, rival. The show was broadcast to 198 radio stations in 28 states. His nervous first set drew a muted reaction. A more composed and energetic second set inspired an enthusiastic response. Soon after the show, the Hayride engaged Presley for a year's worth of Saturday-night appearances. Trading in his old guitar for $8, he purchased a Martin instrument for $175 (equivalent to $2,000 in 2023) and his trio began playing in new locales, including Houston, Texas, and Texarkana, Arkansas. Presley made his first television appearance on the KSLA-TV broadcast of Louisiana Hayride. Soon after, he failed an audition for Arthur Godfrey's Talent Scouts on the CBS television network. By early 1955, Presley's regular Hayride appearances, constant touring, and well-received record releases had made him a regional star.
In January, Neal signed a formal management contract with Presley and brought him to the attention of Colonel Tom Parker, whom he considered the best promoter in the music business. Having successfully managed the top country star Eddy Arnold, Parker was working with the new number-one country singer, Hank Snow. Parker booked Presley on Snow's February tour.
By August, Sun had released ten sides credited to "Elvis Presley, Scotty and Bill"; the latest recordings included a drummer. Some of the songs, like "That's All Right", were in what one Memphis journalist described as the "R&B idiom of negro field jazz"; others, like "Blue Moon of Kentucky", were "more in the country field", "but there was a curious blending of the two different musics in both". This blend of styles made it difficult for Presley's music to find radio airplay. According to Neal, many country-music disc jockeys would not play it because Presley sounded too much like a black artist and none of the R&B stations would touch him because "he sounded too much like a hillbilly." The blend came to be known as "rockabilly". At the time, Presley was billed as "The King of Western Bop", "The Hillbilly Cat", and "The Memphis Flash".
Presley renewed Neal's management contract in August 1955, simultaneously appointing Parker as his special adviser. The group maintained an extensive touring schedule. Neal recalled, "It was almost frightening, the reaction that came to Elvis from the teenaged boys. So many of them, through some sort of jealousy, would practically hate him. There were occasions in some towns in Texas when we'd have to be sure to have a police guard because somebody'd always try to take a crack at him." The trio became a quartet when Hayride drummer Fontana joined as a full member. In mid-October, they played a few shows in support of Bill Haley, whose "Rock Around the Clock" track had been a number-one hit the previous year. Haley observed that Presley had a natural feel for rhythm, and advised him to sing fewer ballads.
At the Country Disc Jockey Convention in early November, Presley was voted the year's most promising male artist. After three major labels made offers of up to $25,000, Parker and Phillips struck a deal with RCA Victor on November 21 to acquire Presley's Sun contract for an unprecedented $40,000.[c] Presley, aged 20, was legally still a minor, so his father signed the contract. Parker arranged with the owners of Hill & Range Publishing, Jean and Julian Aberbach, to create two entities, Elvis Presley Music and Gladys Music, to handle all the new material recorded by Presley. Songwriters were obliged to forgo one-third of their customary royalties in exchange for having Presley perform their compositions.[d] By December, RCA had begun to heavily promote its new singer, and before month's end had reissued many of his Sun recordings.
1956–1958: commercial breakout and controversy
First national TV appearances and debut album
On January 10, 1956, Presley made his first recordings for RCA Victor in Nashville. Extending his by-now customary backup of Moore, Black, Fontana, and Hayride pianist Floyd Cramer—who had been performing at live club dates with Presley—RCA Victor enlisted guitarist Chet Atkins and three background singers, including Gordon Stoker of the popular Jordanaires quartet. The session produced the moody "Heartbreak Hotel", released as a single on January 27. Parker brought Presley to national television, booking him on CBS's Stage Show for six appearances over two months. The program, produced in New York City, was hosted on alternate weeks by big band leaders and brothers Tommy and Jimmy Dorsey. After his first appearance on January 28, Presley stayed in town to record at RCA Victor's New York studio. The sessions yielded eight songs, including a cover of Carl Perkins' rockabilly anthem "Blue Suede Shoes". In February, Presley's "I Forgot to Remember to Forget", a Sun recording released the previous August, reached the top of the Billboard country chart. Neal's contract was terminated and Parker became Presley's manager.
RCA Victor released Presley's self-titled debut album on March 23. Joined by five previously unreleased Sun recordings, its seven recently recorded tracks included two country songs, a bouncy pop tune, and what would centrally define the evolving sound of rock and roll: "Blue Suede Shoes"—"an improvement over Perkins' in almost every way", according to critic Robert Hilburn—and three R&B numbers that had been part of Presley's stage repertoire, covers of Little Richard, Ray Charles, and The Drifters. As described by Hilburn, these
were the most revealing of all. Unlike many white artists ... who watered down the gritty edges of the original R&B versions of songs in the '50s, Presley reshaped them. He not only injected the tunes with his own vocal character but also made guitar, not piano, the lead instrument in all three cases.
It became the first rock and roll album to top the Billboard chart, a position it held for ten weeks. While Presley was not an innovative guitarist like Moore or contemporary African American rockers Bo Diddley and Chuck Berry, cultural historian Gilbert B. Rodman argued that the album's cover image, "of Elvis having the time of his life on stage with a guitar in his hands played a crucial role in positioning the guitar ... as the instrument that best captured the style and spirit of this new music."
Milton Berle Show and "Hound Dog"
On April 3, Presley made the first of two appearances on NBC's The Milton Berle Show. His performance, on the deck of the USS Hancock in San Diego, California, prompted cheers and screams from an audience of sailors and their dates. A few days later, Presley and his band were flying to Nashville, Tennessee for a recording session when an engine died and the plane almost went down over Arkansas. Twelve weeks after its original release, "Heartbreak Hotel" became Presley's first number-one pop hit. In late April, Presley began a two-week residency at the New Frontier Hotel and Casino on the Las Vegas Strip. The shows were poorly received by the conservative, middle-aged hotel guests, "like a jug of corn liquor at a champagne party", a Newsweek critic wrote. Amid his Vegas tenure, Presley, who had acting ambitions, signed a seven-year contract with Paramount Pictures. He began a tour of the Midwest in mid-May, covering fifteen cities in as many days. He had attended several shows by Freddie Bell and the Bellboys in Vegas and was struck by their cover of "Hound Dog", a hit in 1953 for blues singer Big Mama Thornton by songwriters Jerry Leiber and Mike Stoller. It became his new closing number.
After a show in La Crosse, Wisconsin, an urgent message on the letterhead of the local Catholic diocese's newspaper was sent to FBI director J. Edgar Hoover. It warned that
Presley is a definite danger to the security of the United States. ... [His] actions and motions were such as to rouse the sexual passions of teenaged youth. ... After the show, more than 1,000 teenagers tried to gang into Presley's room at the auditorium. ... Indications of the harm Presley did just in La Crosse were the two high school girls ... whose abdomen and thigh had Presley's autograph.
Presley's second Milton Berle Show appearance came on June 5 at NBC's Hollywood studio, amid another hectic tour. Milton Berle persuaded Presley to leave his guitar backstage. During the performance, Presley abruptly halted an up-tempo rendition of "Hound Dog" and launched into a slow, grinding version accentuated with exaggerated body movements. His gyrations created a storm of controversy. Jack Gould of The New York Times wrote,
Mr. Presley has no discernible singing ability. ... His phrasing, if it can be called that, consists of the stereotyped variations that go with a beginner's aria in a bathtub. ... His one specialty is an accented movement of the body ... primarily identified with the repertoire of the blond bombshells of the burlesque runway.
Ben Gross of the New York Daily News opined that popular music "has reached its lowest depths in the 'grunt and groin' antics of one Elvis Presley. ... Elvis, who rotates his pelvis ... gave an exhibition that was suggestive and vulgar, tinged with the kind of animalism that should be confined to dives and bordellos". Ed Sullivan, whose variety show was the nation's most popular, declared Presley "unfit for family viewing". To Presley's displeasure, he soon found himself being referred to as "Elvis the Pelvis", which he called "childish".
Steve Allen Show and first Sullivan appearance
The Berle shows drew such high ratings that Presley was booked for a July 1 appearance on NBC's The Steve Allen Show in New York. Allen, no fan of rock and roll, introduced a "new Elvis" in a white bowtie and black tails. Presley sang "Hound Dog" for less than a minute to a basset hound wearing a top hat and bowtie. As described by television historian Jake Austen, "Allen thought Presley was talentless and absurd ... [he] set things up so that Presley would show his contrition". Allen later wrote that he found Presley's "strange, gangly, country-boy charisma, his hard-to-define cuteness, and his charming eccentricity intriguing" and worked him into the "comedy fabric" of his program. Just before the final rehearsal for the show, Presley told a reporter, "I don't want to do anything to make people dislike me. I think TV is important so I'm going to go along, but I won't be able to give the kind of show I do in a personal appearance." Presley would refer back to the Allen show as the most ridiculous performance of his career. Later that night, he appeared on Hy Gardner Calling, a popular local television show. Pressed on whether he had learned anything from the criticism of him, Presley responded, "No, I haven't... I don't see how any type of music would have any bad influence on people when it's only music. ... how would rock 'n' roll music make anyone rebel against their parents?"
The next day, Presley recorded "Hound Dog", "Any Way You Want Me" and "Don't Be Cruel". The Jordanaires sang harmony, as they had on The Steve Allen Show; they would work with Presley through the 1960s. A few days later, Presley made an outdoor concert appearance in Memphis, at which he announced, "You know, those people in New York are not gonna change me none. I'm gonna show you what the real Elvis is like tonight." In August, a judge in Jacksonville, Florida, ordered Presley to tame his act. Throughout the following performance, he largely kept still, except for wiggling his little finger suggestively in mockery of the order. The single pairing "Don't Be Cruel" with "Hound Dog" ruled the top of the charts for eleven weeks—a mark that would not be surpassed for thirty-six years. Recording sessions for Presley's second album took place in Hollywood in early September. Leiber and Stoller, the writers of "Hound Dog", contributed "Love Me".
Allen's show with Presley had, for the first time, beaten The Ed Sullivan Show in the ratings. Sullivan booked Presley for three appearances for an unprecedented $50,000. The first, on September 9, 1956, was seen by approximately 60 million viewers—a record 82.6 percent of the television audience. Actor Charles Laughton hosted the show, filling in while Sullivan was recovering from a car accident. According to legend, Presley was shot only from the waist up. Watching clips of the Allen and Berle shows, Sullivan had opined that Presley "got some kind of device hanging down below the crotch of his pants—so when he moves his legs back and forth you can see the outline of his cock. ... I think it's a Coke bottle. ... We just can't have this on a Sunday night. This is a family show!" Sullivan publicly told TV Guide, "As for his gyrations, the whole thing can be controlled with camera shots." In fact, Presley was shown head-to-toe. Though the camerawork was relatively discreet during his debut, with leg-concealing closeups when he danced, the studio audience reacted with screams. Presley's performance of his forthcoming single, the ballad "Love Me Tender", prompted a record-shattering million advance orders. More than any other single event, it was this first appearance on The Ed Sullivan Show that made Presley a national celebrity.
Accompanying Presley's rise to fame, a cultural shift was taking place that he both helped inspire and came to symbolize. The historian Marty Jezer wrote that Presley began the "biggest pop craze" since Glenn Miller and Frank Sinatra and brought rock and roll to mainstream culture:
As Presley set the artistic pace, other artists followed. ... Presley, more than anyone else, gave the young a belief in themselves as a distinct and somehow unified generation—the first in America ever to feel the power of an integrated youth culture.
Crazed crowds and film debut
The audience response at Presley's live shows became increasingly fevered. Moore recalled, "He'd start out, 'You ain't nothin' but a Hound Dog,' and they'd just go to pieces. They'd always react the same way. There'd be a riot every time." At the two concerts he performed in September at the Mississippi–Alabama Fair and Dairy Show, fifty National Guardsmen were added to the police detail to prevent a ruckus. Elvis, Presley's second RCA Victor album, was released in October and quickly rose to number one. The album includes "Old Shep", which he sang at the talent show in 1945, and which now marked the first time he played piano on an RCA Victor session. According to Guralnick, "the halting chords and the somewhat stumbling rhythm" showed "the unmistakable emotion and the equally unmistakable valuing of emotion over technique." Assessing the musical and cultural impact of Presley's recordings from "That's All Right" through Elvis, rock critic Dave Marsh wrote that "these records, more than any others, contain the seeds of what rock & roll was, has been and most likely what it may foreseeably become."
Presley returned to The Ed Sullivan Show, hosted this time by its namesake, on October 28. After the performance, crowds in Nashville and St. Louis burned him in effigy. His first motion picture, Love Me Tender, was released on November 21. Though he was not top-billed, the film's original title—The Reno Brothers—was changed to capitalize on his latest number-one record: "Love Me Tender" had hit the top of the charts earlier that month. To further take advantage of Presley's popularity, four musical numbers were added to what was originally a straight acting role. The film was panned by critics but did very well at the box office. Presley would receive top billing on every subsequent film he made.
On December 4, Presley dropped into Sun Records, where Carl Perkins and Jerry Lee Lewis were recording, and had an impromptu jam session along with Johnny Cash. Though Phillips no longer had the right to release any Presley material, he made sure that the session was captured on tape. The results, none officially released for twenty-five years, became known as the "Million Dollar Quartet" recordings. The year ended with a front-page story in The Wall Street Journal reporting that Presley merchandise had brought in $22 million on top of his record sales, and Billboard's declaration that he had placed more songs in the top 100 than any other artist since records were first charted. In his first full year at RCA Victor, then the record industry's largest company, Presley had accounted for over fifty percent of the label's singles sales.
Leiber and Stoller collaboration and draft notice
Presley made his third and final Ed Sullivan Show appearance on January 6, 1957—on this occasion indeed shot only down to the waist. Some commentators have claimed that Parker orchestrated an appearance of censorship to generate publicity. In any event, as critic Greil Marcus describes, Presley "did not tie himself down. Leaving behind the bland clothes he had worn on the first two shows, he stepped out in the outlandish costume of a pasha, if not a harem girl. From the make-up over his eyes, the hair falling in his face, the overwhelmingly sexual cast of his mouth, he was playing Rudolph Valentino in The Sheik, with all stops out." To close, displaying his range and defying Sullivan's wishes, Presley sang a gentle black spiritual, "Peace in the Valley". At the end of the show, Sullivan declared Presley "a real decent, fine boy". Two days later, the Memphis draft board announced that Presley would be classified 1-A and would probably be drafted sometime that year.
Each of the three Presley singles released in the first half of 1957 went to number one: "Too Much", "All Shook Up", and "(Let Me Be Your) Teddy Bear". Already an international star, he was attracting fans even where his music was not officially released: The New York Times reported that pressings of his music on discarded X-ray plates were commanding high prices in Leningrad. Presley purchased his 18-room mansion, Graceland, on March 19, 1957. Before the purchase, Elvis recorded Loving You—the soundtrack to his second film, which was released in July. It was his third straight number-one album. The title track was written by Leiber and Stoller, who were then retained to write four of the six songs recorded at the sessions for Jailhouse Rock, Presley's next film. The songwriting team effectively produced the Jailhouse sessions and developed a close working relationship with Presley, who came to regard them as his "good-luck charm". "He was fast," said Leiber. "Any demo you gave him he knew by heart in ten minutes." The title track became another number-one hit, as was the Jailhouse Rock EP.
Presley undertook three brief tours during the year, continuing to generate a crazed audience response. A Detroit newspaper suggested that "the trouble with going to see Elvis Presley is that you're liable to get killed". Villanova students pelted the singer with eggs in Philadelphia, and in Vancouver the crowd rioted after the show ended, destroying the stage. Frank Sinatra, who had inspired the swooning and screaming of teenage girls in the 1940s, decried rock and roll as "brutal, ugly, degenerate, vicious. ... It fosters almost totally negative and destructive reactions in young people. It smells phoney and false. It is sung, played and written, for the most part, by cretinous goons. ... This rancid-smelling aphrodisiac I deplore." Asked for a response, Presley said:
I admire the man. He has a right to say what he wants to say. He is a great success and a fine actor, but I think he shouldn't have said it. ... This is a trend, just the same as he faced when he started years ago.
Leiber and Stoller were again in the studio for the recording of Elvis' Christmas Album. Toward the end of the session, they wrote a song on the spot at Presley's request: "Santa Claus Is Back in Town", an innuendo-laden blues. The holiday release stretched Presley's string of number-one albums to four and would become the best-selling Christmas album ever in the United States, with eventual sales of over 20 million worldwide. After the session, Moore and Black—drawing only modest weekly salaries, sharing in none of Presley's massive financial success—resigned, though they were brought back on a per diem basis a few weeks later.
On December 20, Presley received his draft notice, though he was granted a deferment to finish the forthcoming film King Creole. A couple of weeks into the new year, "Don't", another Leiber and Stoller tune, became Presley's tenth number-one seller. Recording sessions for the King Creole soundtrack were held in Hollywood in mid-January 1958. Leiber and Stoller provided three songs, but it would be the last time Presley and the duo worked closely together. As Stoller later recalled, Presley's manager and entourage sought to wall him off. A brief soundtrack session on February 11 marked the final occasion on which Black was to perform with Presley.
1958–1960: military service and mother's death
On March 24, 1958, Presley was drafted into the United States Army at Fort Chaffee in Arkansas. His arrival was a major media event. Hundreds of people descended on Presley as he stepped from the bus; photographers accompanied him into the installation. Presley announced that he was looking forward to his military service, saying that he did not want to be treated any differently from anyone else.
Between March 28 and September 17, 1958, Presley completed basic and advanced training at Fort Hood, Texas, where he was temporarily assigned to Company A, 2d Medium Tank Battalion, 37th Armor. During the two weeks' leave between his basic and advanced training in early June, he recorded five songs in Nashville. In early August, Presley's mother was diagnosed with hepatitis, and her condition rapidly worsened. Presley was granted emergency leave to visit her and arrived in Memphis on August 12. Two days later, she died of heart failure at age 46. Presley was devastated and never the same; their relationship had remained extremely close—even into his adulthood, they would use baby talk with each other and Presley would address her with pet names.
On October 1, 1958, Presley was assigned to the 1st Medium Tank Battalion, 32d Armor, 3d Armored Division, at Ray Barracks, West Germany, where he served as an armor intelligence specialist. On November 27, he was promoted to private first class and on June 1, 1959, to specialist fourth class. While on maneuvers, Presley was introduced to amphetamines and became "practically evangelical about their benefits", not only for energy but for "strength" and weight loss. Karate became a lifelong interest: he studied with Jürgen Seydel, and later included it in his live performances. Fellow soldiers have attested to Presley's wish to be seen as an able, ordinary soldier despite his fame, and to his generosity. He donated his Army pay to charity, purchased television sets for the base, and bought an extra set of fatigues for everyone in his outfit. Presley was promoted to sergeant on February 11, 1960.
While in Bad Nauheim, Presley, aged 24, met 14-year-old Priscilla Beaulieu. They would marry after a seven-and-a-half-year courtship. In her autobiography, Priscilla said that Presley was concerned that his 24 months in the military would ruin his career. In Special Services, he would have been able to perform and remain in touch with the public, but Parker had convinced him that to gain popular respect, he should serve as a regular soldier. Media reports echoed Presley's concerns about his career, but RCA Victor producer Steve Sholes and Freddy Bienstock of Hill and Range had carefully prepared: armed with a substantial amount of unreleased material, they kept up a regular stream of successful releases. Between his induction and discharge, Presley had ten top-40 hits, including "Wear My Ring Around Your Neck", the bestselling "Hard Headed Woman", and "One Night" in 1958, and "(Now and Then There's) A Fool Such as I" and the number-one "A Big Hunk o' Love" in 1959. RCA Victor also generated four albums compiling previously issued material during this period, most successfully Elvis' Golden Records (1958), which hit number three on the LP chart.
1960–1968: focus on films
Elvis Is Back
Presley returned to the U.S. on March 2, 1960, and was honorably discharged three days later. The train that carried him from New Jersey to Tennessee was mobbed all the way, and Presley was called upon to appear at scheduled stops to please his fans. On the night of March 20, he entered RCA's Nashville studio to cut tracks for a new album along with a single, "Stuck on You", which was rushed into release and swiftly became a number-one hit. Another Nashville session two weeks later yielded a pair of bestselling singles, the ballads "It's Now or Never" and "Are You Lonesome Tonight?", along with the rest of Elvis Is Back! The album features several songs described by Greil Marcus as full of Chicago blues "menace, driven by Presley's own super-miked acoustic guitar, brilliant playing by Scotty Moore, and demonic sax work from Boots Randolph. Elvis' singing wasn't sexy, it was pornographic." The record "conjured up the vision of a performer who could be all things", according to music historian John Robertson: "a flirtatious teenage idol with a heart of gold; a tempestuous, dangerous lover; a gutbucket blues singer; a sophisticated nightclub entertainer; [a] raucous rocker". Released only days after recording was complete, it reached number two on the album chart.
Presley returned to television on May 12 as a guest on The Frank Sinatra Timex Special. Also known as Welcome Home Elvis, the show had been taped in late March, the only time all year Presley performed in front of an audience. Parker secured an unheard-of $125,000 for eight minutes of singing. The broadcast drew an enormous viewership.
G.I. Blues, the soundtrack to Presley's first film since his return, was a number-one album in October. His first LP of sacred material, His Hand in Mine, followed two months later; it reached number 13 on the U.S. pop chart and number 3 in the United Kingdom, remarkable figures for a gospel album. In February 1961, Presley performed two shows in Memphis, for a benefit for twenty-four local charities. During a luncheon preceding the event, RCA Victor presented him with a plaque certifying worldwide sales of over 75 million records. A twelve-hour Nashville session in mid-March yielded nearly all of Presley's next studio album, Something for Everybody. According to John Robertson, it exemplifies the Nashville sound, the restrained, cosmopolitan style that would define country music in the 1960s. Presaging much of what was to come from Presley over the next half-decade, the album is largely "a pleasant, unthreatening pastiche of the music that had once been Elvis' birthright". It would be his sixth number-one LP. Another benefit concert, for a Pearl Harbor memorial, was staged on March 25 in Hawaii. It was to be Presley's last public performance for seven years.
Lost in Hollywood
Parker had by now pushed Presley into a heavy filmmaking schedule, focused on formulaic, modestly budgeted musical comedies. Presley initially insisted on pursuing higher roles, but when two films in a more dramatic vein—Flaming Star (1960) and Wild in the Country (1961)—were less commercially successful, he reverted to the formula. Among the twenty-seven films he made during the 1960s, there were a few further exceptions. His films were almost universally panned; critic Andrew Caine dismissed them as a "pantheon of bad taste". Nonetheless, they were virtually all profitable. Hal Wallis, who produced nine, declared, "A Presley picture is the only sure thing in Hollywood."
Of Presley's films in the 1960s, fifteen were accompanied by soundtrack albums and another five by soundtrack EPs. The films' rapid production and release schedules—Presley frequently starred in three a year—affected his music. According to Jerry Leiber, the soundtrack formula was already evident before Presley left for the Army: "three ballads, one medium-tempo [number], one up-tempo, and one break blues boogie". As the decade wore on, the quality of the soundtrack songs grew "progressively worse". Julie Parrish, who appeared in Paradise, Hawaiian Style (1966), says that Presley disliked many of the songs. The Jordanaires' Gordon Stoker describes how he would retreat from the studio microphone: "The material was so bad that he felt like he couldn't sing it." Most of the film albums featured a song or two from respected writers such as the team of Doc Pomus and Mort Shuman. But by and large, according to biographer Jerry Hopkins, the numbers seemed to be "written on order by men who never really understood Elvis or rock and roll".
In the first half of the decade, three of Presley's soundtrack albums were ranked number one on the pop charts, and a few of his most popular songs came from his films, such as "Can't Help Falling in Love" (1961) and "Return to Sender" (1962). However, the commercial returns steadily diminished. From 1964 through 1968, Presley had only one top-ten hit: "Crying in the Chapel" (1965), a gospel number recorded in 1960. As for non-film albums, between the June 1962 release of Pot Luck and the November 1968 release of the soundtrack to the television special that signaled his comeback, only one LP of new material by Presley was issued: the gospel album How Great Thou Art (1967). It won him his first Grammy Award, for Best Sacred Performance. As Marsh described, Presley was "arguably the greatest white gospel singer of his time [and] really the last rock & roll artist to make gospel as vital a component of his musical personality as his secular songs".
Shortly before Christmas 1966, more than seven years since they first met, Presley proposed to Priscilla Beaulieu. They were married on May 1, 1967, in a brief ceremony in their suite at the Aladdin Hotel in Las Vegas. The flow of formulaic films and assembly-line soundtracks continued. It was not until October 1967, when the Clambake soundtrack LP registered record low sales for a new Presley album, that RCA Victor executives recognized a problem. "By then, of course, the damage had been done", as historians Connie Kirchberg and Marc Hendrickx put it. "Elvis was viewed as a joke by serious music lovers and a has-been to all but his most loyal fans."
1968–1973: Comeback
Elvis: the '68 Comeback Special
Main article: Singer Presents...Elvis
Presley's only child, Lisa Marie, was born on February 1, 1968, during a period when he had grown deeply unhappy with his career. Of the eight Presley singles released between January 1967 and May 1968, only two charted in the top 40, none higher than number 28. His forthcoming soundtrack album, Speedway, would rank at number 82. Parker had already shifted his plans to television: he maneuvered a deal with NBC that committed the network to finance a theatrical feature and broadcast a Christmas special.
Recorded in late June in Burbank, California, the special, simply called Elvis, aired on December 3, 1968. Later known as the '68 Comeback Special, the show featured lavishly staged studio productions as well as songs performed with a band in front of a small audience—Presley's first live performances since 1961. The live segments saw Presley dressed in tight black leather, singing and playing guitar in an uninhibited style reminiscent of his early rock and roll days. Director and co-producer Steve Binder worked hard to produce a show that was far from the hour of Christmas songs Parker had originally planned. The show, NBC's highest-rated that season, captured forty-two percent of the total viewing audience. Jon Landau of Eye magazine remarked:
There is something magical about watching a man who has lost himself find his way back home. He sang with the kind of power people no longer expect of rock 'n' roll singers. He moved his body with a lack of pretension and effort that must have made Jim Morrison green with envy.
Marsh calls the performance one of "emotional grandeur and historical resonance".
By January 1969, the single "If I Can Dream", written for the special, reached number 12. The soundtrack album rose into the top ten. According to friend Jerry Schilling, the special reminded Presley of what "he had not been able to do for years, being able to choose the people; being able to choose what songs and not being told what had to be on the soundtrack. ... He was out of prison, man." Binder said of Presley's reaction, "I played Elvis the 60-minute show, and he told me in the screening room, 'Steve, it's the greatest thing I've ever done in my life. I give you my word I will never sing a song I don't believe in.'"
From Elvis in Memphis and the International
Buoyed by the experience of the Comeback Special, Presley engaged in a prolific series of recording sessions at American Sound Studio, which led to the acclaimed From Elvis in Memphis. Released in June 1969, it was his first secular, non-soundtrack album from a dedicated period in the studio in eight years. As described by Marsh, it is "a masterpiece in which Presley immediately catches up with pop music trends that had seemed to pass him by during the movie years. He sings country songs, soul songs and rockers with real conviction, a stunning achievement." The album featured the hit single "In the Ghetto", issued in April, which reached number three on the pop chart—Presley's first non-gospel top ten hit since "Bossa Nova Baby" in 1963. Further hit singles were culled from the American Sound sessions: "Suspicious Minds", "Don't Cry Daddy", and "Kentucky Rain".
Presley was keen to resume regular live performing. Following the success of the Comeback Special, offers came in from around the world. The London Palladium offered Parker US$28,000 (equivalent to $233,000 in 2023) for a one-week engagement. He responded, "That's fine for me, now how much can you get for Elvis?" In May, the brand-new International Hotel in Las Vegas, boasting the largest showroom in the city, booked Presley for fifty-seven shows over four weeks, beginning July 31. Moore, Fontana, and the Jordanaires declined to participate, afraid of losing the lucrative session work they had in Nashville. Presley assembled new, top-notch accompaniment, led by guitarist James Burton and including two gospel groups, The Imperials and Sweet Inspirations. Costume designer Bill Belew, responsible for the intense leather styling of the Comeback Special, created a new stage look for Presley, inspired by his passion for karate. Nonetheless, Presley was nervous: his only previous Las Vegas engagement, in 1956, had been dismal. Parker oversaw a major promotional push, and International Hotel owner Kirk Kerkorian arranged to send his own plane to New York to fly in rock journalists for the debut performance.
Presley took to the stage without introduction. The audience of 2,200, including many celebrities, gave him a standing ovation before he sang a note and another after his performance. A third followed his encore, "Can't Help Falling in Love" (which would be his closing number for much of his remaining life). At a press conference after the show, when a journalist referred to him as "The King", Presley gestured toward Fats Domino, who was taking in the scene. "No," Presley said, "that's the real king of rock and roll." The next day, Parker's negotiations with the hotel resulted in a five-year contract for Presley to play each February and August, at an annual salary of $1 million. Newsweek commented, "There are several unbelievable things about Elvis, but the most incredible is his staying power in a world where meteoric careers fade like shooting stars." Rolling Stone called Presley "supernatural, his own resurrection." In November, Presley's final non-concert film, Change of Habit, opened. The double album From Memphis to Vegas/From Vegas to Memphis came out the same month; the first LP consisted of live performances from the International, the second of more cuts from the American Sound sessions. "Suspicious Minds" reached the top of the charts—Presley's first U.S. pop number-one in over seven years, and his last.
Cassandra Peterson, later television's Elvira, met Presley during this period in Las Vegas. She recalled of their encounter, "He was so anti-drug when I met him. I mentioned to him that I smoked marijuana, and he was just appalled." Presley also rarely drank—several of his family members had been alcoholics, a fate he intended to avoid.
Back on tour and meeting Nixon
Presley returned to the International early in 1970 for the first of the year's two-month-long engagements, performing two shows a night. Recordings from these shows were issued on the album On Stage. In late February, Presley performed six attendance-record–breaking shows at the Houston Astrodome. In April, the single "The Wonder of You" was issued—a number one hit in the UK, it topped the U.S. adult contemporary chart as well. Metro-Goldwyn-Mayer (MGM) filmed rehearsal and concert footage at the International during August for the documentary Elvis: That's the Way It Is. Presley was performing in a jumpsuit, which would become a trademark of his live act. During this engagement, he was threatened with murder unless US$50,000 (equivalent to $392,000 in 2023) was paid. Presley had been the target of many threats since the 1950s, often without his knowledge. The FBI took the threat seriously and security was increased for the next two shows. Presley went onstage with a Derringer in his right boot and a .45 caliber pistol in his waistband, but the concerts succeeded without any incidents.
That's the Way It Is, produced to accompany the documentary and featuring both studio and live recordings, marked a stylistic shift. As music historian John Robertson noted,
The authority of Presley's singing helped disguise the fact that the album stepped decisively away from the American-roots inspiration of the Memphis sessions towards a more middle-of-the-road sound. With country put on the back burner, and soul and R&B left in Memphis, what was left was very classy, very clean white pop—perfect for the Las Vegas crowd, but a definite retrograde step for Elvis.
After the end of his International engagement on September 7, Presley embarked on a week-long concert tour, largely of the South, his first since 1958. Another week-long tour, of the West Coast, followed in November.
On December 21, 1970, Presley engineered a meeting with U.S. President Richard Nixon at the White House, where he explained how he believed he could reach out to the hippies to help combat the drug culture he and the president abhorred. He asked Nixon for a Bureau of Narcotics and Dangerous Drugs badge, to signify official sanction of his efforts. Nixon, who apparently found the encounter awkward, expressed a belief that Presley could send a positive message to young people and that it was, therefore, important that he "retain his credibility". Presley told Nixon that the Beatles, whose songs he regularly performed in concert during the era, exemplified what he saw as a trend of anti-Americanism. Presley and his friends previously had a four-hour get-together with the Beatles at his home in Bel Air, California, in August 1965. Paul McCartney later said that he "felt a bit betrayed. ... The great joke was that we were taking [illegal] drugs, and look what happened to him", a reference to Presley's early death linked to prescription drug abuse.
The U.S. Junior Chamber of Commerce named Presley one of its annual Ten Most Outstanding Young Men of the Nation on January 16, 1971. Not long after, the City of Memphis named the stretch of Highway 51 South on which Graceland is located "Elvis Presley Boulevard". The same year, Presley became the first rock and roll singer to be awarded the Grammy Lifetime Achievement Award (then known as the Bing Crosby Award). Three new, non-film Presley studio albums were released in 1971. Best received by critics was Elvis Country, a concept record that focused on genre standards. The biggest seller was Elvis Sings The Wonderful World of Christmas. According to Greil Marcus,
In the midst of ten painfully genteel Christmas songs, every one sung with appalling sincerity and humility, one could find Elvis tom-catting his way through six blazing minutes of "Merry Christmas Baby", a raunchy old Charles Brown blues. [...] If [Presley's] sin was his lifelessness, it was his sinfulness that brought him to life.
Marriage breakdown and Aloha from Hawaii
MGM filmed Presley in April 1972 for Elvis on Tour, which went on to win the Golden Globe Award for Best Documentary Film for that year's Golden Globe Awards. His gospel album He Touched Me, released that month, would earn him his second Grammy Award for Best Inspirational Performance. A fourteen-date tour commenced with an unprecedented four consecutive sold-out shows at New York's Madison Square Garden. The evening concert on July 10 was issued in LP form a week later. Elvis: As Recorded at Madison Square Garden became one of Presley's biggest-selling albums. After the tour, the single "Burning Love" was released—Presley's last top ten hit on the U.S. pop chart. "The most exciting single Elvis has made since 'All Shook Up'", wrote rock critic Robert Christgau.
Presley and his wife had become increasingly distant, barely cohabiting. In 1971, an affair he had with Joyce Bova resulted—unbeknownst to him—in her pregnancy and an abortion. He often raised the possibility of Joyce moving into Graceland. The Presleys separated on February 23, 1972, after Priscilla disclosed her relationship with Mike Stone, a karate instructor Presley had recommended to her. Priscilla related that when she told him, Presley forcefully made love to her, declaring, "This is how a real man makes love to his woman". She later stated in an interview that she regretted her choice of words in describing the incident, and said it had been an overstatement. Five months later, Presley's new girlfriend, Linda Thompson, a songwriter and one-time Memphis beauty queen, moved in with him. Presley and his wife filed for divorce on August 18. According to Joe Moscheo of the Imperials, the failure of Presley's marriage "was a blow from which he never recovered". At a rare press conference that June, a reporter had asked Presley whether he was satisfied with his image. Presley replied, "Well, the image is one thing and the human being another ... it's very hard to live up to an image."
In January 1973, Presley performed two benefit concerts for the Kui Lee Cancer Fund in connection with a groundbreaking television special, Aloha from Hawaii, which would be the first concert by a solo artist to be aired globally. The first show served as a practice run and backup should technical problems affect the live broadcast two days later. On January 14, Aloha from Hawaii aired live via satellite to prime-time audiences in Japan, South Korea, Thailand, the Philippines, Australia, and New Zealand, as well as to U.S. servicemen based across Southeast Asia. In Japan, where it capped a nationwide Elvis Presley Week, it smashed viewing records. The next night, it was simulcast to twenty-eight European countries, and in April an extended version aired in the U.S., receiving a fifty-seven percent share of the TV audience. Over time, Parker's claim that it was seen by one billion or more people would be broadly accepted, but that figure appeared to have been sheer invention. Presley's stage costume became the most recognized example of the elaborate concert garb with which his latter-day persona became closely associated. As described by Bobbie Ann Mason, "At the end of the show, when he spreads out his American Eagle cape, with the full stretched wings of the eagle studded on the back, he becomes a god figure." The accompanying double album, released in February, went to number one and eventually sold over 5 million copies in the U.S. It was Presley's last U.S. number-one pop album during his lifetime.
At a midnight show that same month, four men rushed onto the stage in an apparent attack. Security personnel came to Presley's defense, and he ejected one invader from the stage himself. Following the show, Presley became obsessed with the idea that the men had been sent by Mike Stone to kill him. Though they were shown to have been only overexuberant fans, Presley raged, "There's too much pain in me ... Stone [must] die." His outbursts continued with such intensity that a physician was unable to calm him, despite administering large doses of medication. After another two full days of raging, Red West, his friend and bodyguard, felt compelled to get a price for a contract killing and was relieved when Presley decided, "Aw hell, let's just leave it for now. Maybe it's a bit heavy."
1973–1977: health deterioration and death
Medical crises and last studio sessions
Presley's divorce was finalized on October 9, 1973. By then, his health was in serious decline. Twice during the year he overdosed on barbiturates, spending three days in a coma in his hotel suite after the first incident. In late 1973, he was hospitalized from the effects of a pethidine addiction. According to his primary care physician, George C. Nichopoulos, Presley "felt that by getting drugs from a doctor, he wasn't the common everyday junkie getting something off the street". Since his comeback, he had staged more live shows with each passing year, and 1973 saw 168 concerts, his busiest schedule ever. Despite his failing health, he undertook another intensive touring schedule in 1974.
Presley's condition declined precipitously that September. Keyboardist Tony Brown remembered his arrival at a University of Maryland concert: "He fell out of the limousine, to his knees. People jumped to help, and he pushed them away like, 'Don't help me.' He walked on stage and held onto the mic for the first thirty minutes like it was a post. Everybody's looking at each other like, 'Is the tour gonna happen'?" Guitarist John Wilkinson recalled:
He was all gut. He was slurring. He was so fucked up. ... It was obvious he was drugged. It was obvious there was something terribly wrong with his body. It was so bad the words to the songs were barely intelligible. ... I remember crying. He could barely get through the introductions.
RCA began to grow anxious as his interest in the recording studio waned. After a session in December 1973 that produced eighteen songs, enough for almost two albums, Presley made no official studio recordings in 1974. Parker delivered RCA another concert record, Elvis Recorded Live on Stage in Memphis. Recorded on March 20, it included a version of "How Great Thou Art" that won Presley his third and final Grammy Award for Best Inspirational Performance. All three of his competitive Grammy wins – out of fourteen total nominations – were for gospel recordings. Presley returned to the recording studio in March 1975, but Parker's attempts to arrange another session toward the end of the year were unsuccessful. In 1976, RCA sent a mobile recording unit to Graceland that made possible two full-scale recording sessions. However, the recording process had become a struggle for him.
Final months
After Presley's relationship with Linda Thompson ended, he began dating Ginger Alden in November 1976; he proposed marriage to Alden two months later.
Journalist Tony Scherman wrote that, by early 1977, "Presley had become a grotesque caricature of his sleek, energetic former self. Grossly overweight, his mind dulled by the pharmacopia he daily ingested, he was barely able to pull himself through his abbreviated concerts." According to Andy Greene of Rolling Stone, Presley's final performances were mostly "sad, sloppy affairs where a bloated, drugged Presley struggled to remember his lyrics and get through the night without collapsing ... Most everything from the final three years of his life is sad and hard to watch." In Alexandria, Louisiana, he was on stage for less than an hour and "was impossible to understand". On March 31, he canceled a performance in Baton Rouge, unable to get out of his hotel bed; four shows had to be canceled and rescheduled.
Despite the accelerating deterioration of his health, Presley fulfilled most of his touring commitments. According to Guralnick, fans "were becoming increasingly voluble about their disappointment, but it all seemed to go right past Presley, whose world was now confined almost entirely to his room and his spiritualism books". Presley's cousin, Billy Smith, recalled how he would sit in his room and chat for hours, sometimes recounting favorite Monty Python sketches and his past escapades, but more often gripped by paranoid obsessions.
"Way Down", Presley's last single issued during his lifetime, was released on June 6, 1977. That month, CBS taped two concerts for a television special, Elvis in Concert, to be broadcast in October. In the first, shot in Omaha on June 19, Presley's voice, Guralnick writes, "is almost unrecognizable, a small, childlike instrument in which he talks more than sings most of the songs, casts about uncertainly for the melody in others, and is virtually unable to articulate or project". Two days later, in Rapid City, South Dakota, "he looked healthier, seemed to have lost a little weight, and sounded better, too", though, by the conclusion of the performance, his face was "framed in a helmet of blue-black hair from which sweat sheets down over pale, swollen cheeks". Presley's final concert was held in Indianapolis at Market Square Arena, on June 26, 1977.
Death
See also: Elvis sightings
On August 16, 1977, Presley was scheduled on an evening flight out of Memphis to Portland, Maine, to begin another tour. That afternoon, however, his fiancée Ginger Alden discovered him unresponsive on the bathroom floor of his Graceland mansion. Attempts to revive him failed, and he was pronounced dead at Baptist Memorial Hospital at 3:30 p.m. He was 42.
President Jimmy Carter issued a statement that credited Presley with having "permanently changed the face of American popular culture". Thousands of people gathered outside Graceland to view the open casket. One of Presley's cousins, Billy Mann, accepted US$18,000 (equivalent to $91,000 in 2023) to secretly photograph the body; the picture appeared on the cover of the National Enquirer's biggest-selling issue ever. Alden struck a $105,000 (equivalent to $528,000 in 2023) deal with the Enquirer for her story, but settled for less when she broke her exclusivity agreement. Presley left her nothing in his will.
Presley's funeral was held at Graceland on August 18. Outside the gates, a car plowed into a group of fans, killing two young women and critically injuring a third. About 80,000 people lined the processional route to Forest Hill Cemetery, where Presley was buried next to his mother. Within a few weeks, "Way Down" topped the country and UK singles chart. Following an attempt to steal Presley's body in late August, the remains of both Presley and his mother were exhumed and reburied in Graceland's Meditation Garden on October 2.
Cause of death
While an autopsy undertaken the same day Presley died was still in progress, Memphis medical examiner Jerry Francisco announced that the immediate cause of death was cardiac arrest and declared that "drugs played no role in Presley's death". In fact, "drug use was heavily implicated" in Presley's death, writes Guralnick. The pathologists conducting the autopsy thought it possible, for instance, that he had suffered "anaphylactic shock brought on by the codeine pills he had gotten from his dentist, to which he was known to have had a mild allergy". Lab reports filed two months later strongly suggested that polypharmacy was the primary cause of death; one reported "fourteen drugs in Elvis' system, ten in significant quantity". In 1979, forensic pathologist Cyril Wecht reviewed the reports and concluded that a combination of depressants had resulted in Presley's accidental death. Forensic historian and pathologist Michael Baden viewed the situation as complicated: "Elvis had had an enlarged heart for a long time. That, together with his drug habit, caused his death. But he was difficult to diagnose; it was a judgment call."
The competence and ethics of two of the centrally involved medical professionals were seriously questioned. Francisco had offered a cause of death before the autopsy was complete; claimed the underlying ailment was cardiac arrhythmia, a condition that can be determined only in a living person; and denied drugs played any part in Presley's death before the toxicology results were known. Allegations of a cover-up were widespread. While a 1981 trial of Presley's main physician, George C. Nichopoulos, exonerated him of criminal liability, the facts were startling: "In the first eight months of 1977 alone, he had [prescribed] more than 10,000 doses of sedatives, amphetamines, and narcotics: all in Elvis' name." Nichopoulos' license was suspended for three months. It was permanently revoked in the 1990s after the Tennessee Medical Board brought new charges of over-prescription.
In 1994, the Presley autopsy report was reopened. Joseph Davis, who had conducted thousands of autopsies as Miami-Dade County coroner, declared at its completion, "There is nothing in any of the data that supports a death from drugs. In fact, everything points to a sudden, violent heart attack." More recent research has revealed that Francisco did not speak for the entire pathology team. Other staff "could say nothing with confidence until they got the results back from the laboratories, if then." One of the examiners, E. Eric Muirhead,
could not believe his ears. Francisco had not only presumed to speak for the hospital's team of pathologists, he had announced a conclusion that they had not reached. ... Early on, a meticulous dissection of the body ... confirmed [that] Elvis was chronically ill with diabetes, glaucoma, and constipation. As they proceeded, the doctors saw evidence that his body had been wracked over a span of years by a large and constant stream of drugs. They had also studied his hospital records, which included two admissions for drug detoxification and methadone treatments.
Later developments
Between 1977 and 1981, six of Presley's posthumously released singles were top-ten country hits. Graceland was opened to the public in 1982. Attracting over half a million visitors annually, it became the second-most-visited home in the United States, after the White House. The residence was declared a National Historic Landmark in 2006.
Presley has been inducted into five music halls of fame: the Rock and Roll Hall of Fame (1986), the Country Music Hall of Fame (1998), the Gospel Music Hall of Fame (2001), the Rockabilly Hall of Fame (2007), and the Memphis Music Hall of Fame (2012). In 1984, he received the W. C. Handy Award from the Blues Foundation and the Academy of Country Music's first Golden Hat Award. In 1987, he received the American Music Awards' Award of Merit.
A Junkie XL remix of Presley's "A Little Less Conversation" (credited as "Elvis Vs JXL") was used in a Nike advertising campaign during the 2002 FIFA World Cup. It topped the charts in over twenty countries and was included in a compilation of Presley's number-one hits, ELV1S, which was also an international success. The album returned Presley to the top of the Billboard chart for the first time in almost three decades.
In 2003, a remix of "Rubberneckin'", a 1969 recording, topped the U.S. sales chart, as did a 50th-anniversary re-release of "That's All Right" the following year. The latter was an outright hit in Britain, debuting at number three on the pop chart; it also made the top ten in Canada. In 2005, another three reissued singles, "Jailhouse Rock", "One Night"/"I Got Stung", and "It's Now or Never", went to number one in the UK. They were part of a campaign that saw the re-release of all eighteen of Presley's previous chart-topping UK singles. The first, "All Shook Up", came with a collectors' box that made it ineligible to chart again; each of the other seventeen reissues hit the British top five.
In 2005, Forbes magazine named Presley the top-earning deceased celebrity for the fifth straight year, with a gross income of $45 million. He was placed second in 2006, returned to the top spot the next two years, and ranked fourth in 2009. The following year, he was ranked second, with his highest annual income ever—$60 million—spurred by the celebration of his 75th birthday and the launch of Cirque du Soleil's Viva Elvis show in Las Vegas. In November 2010, Viva Elvis: The Album was released, setting his voice to newly recorded instrumental tracks. As of mid-2011, there were an estimated 15,000 licensed Presley products, and he was again the second-highest-earning deceased celebrity. Six years later, he ranked fourth with earnings of $35 million, up $8 million from 2016 due in part to the opening of a new entertainment complex, Elvis Presley's Memphis, and hotel, The Guest House at Graceland.
In 2018, RCA/Legacy released Elvis Presley – Where No One Stands Alone, a new album focused on Presley' love of gospel music. Produced by Joel Weinshanker, Lisa Marie Presley and Andy Childs, the album introduced newly recorded instrumentation along with vocals from singers who had performed in the past with Elvis. It included a reimagined duet with Lisa Marie, on the album's title track.
In 2022, Baz Luhrmann's film Elvis, a biographical film about Presley's life, was released. Presley is portrayed by Austin Butler and Parker by Tom Hanks. As of August 2022, the film had grossed $261.8 million worldwide on a $85 million budget, becoming the second-highest-grossing music biopic of all-time behind Bohemian Rhapsody (2018), and the fifth-highest-grossing Australian-produced film. For his portrayal of Presley, Butler won the Golden Globe and was nominated for the Oscar for Best Actor. In January 2023, his 1962 Lockheed 1329 JetStar sold at an auction for $260,000.
Artistry
Influences
Presley's earliest musical influence came from gospel. His mother recalled that from the age of two, at the Assembly of God church in Tupelo attended by the family, "he would slide down off my lap, run into the aisle and scramble up to the platform. There he would stand looking at the choir and trying to sing with them." In Memphis, Presley frequently attended all-night gospel singings at the Ellis Auditorium, where groups such as the Statesmen Quartet led the music in a style that, Guralnick suggests, sowed the seeds of Presley's future stage act:
The Statesmen were an electric combination ... featuring some of the most thrillingly emotive singing and daringly unconventional showmanship in the entertainment world ... dressed in suits that might have come out of the window of Lansky's. ... Bass singer Jim Wetherington, known universally as the Big Chief, maintained a steady bottom, ceaselessly jiggling first his left leg, then his right, with the material of the pants leg ballooning out and shimmering. "He went about as far as you could go in gospel music," said Jake Hess. "The women would jump up, just like they do for the pop shows." Preachers frequently objected to the lewd movements ... but audiences reacted with screams and swoons.
As a teenager, Presley's musical interests were wide-ranging, and he was deeply informed about both white and African-American musical idioms. Though he never had any formal training, he had a remarkable memory, and his musical knowledge was already considerable by the time he made his first professional recordings aged 19 in 1954. When Jerry Leiber and Mike Stoller met him two years later, they were astonished at his encyclopedic understanding of the blues, and, as Stoller put it, "He certainly knew a lot more than we did about country music and gospel music." At a press conference the following year, he proudly declared, "I know practically every religious song that's ever been written."
Musicianship
Presley played guitar, bass, and piano; he received his first guitar when he was 11 years old. He could not read or write music and had no formal lessons, and played everything by ear. Presley often played an instrument on his recordings and produced his own music. Presley played rhythm acoustic guitar on most of his Sun recordings and his 1950s RCA Victor albums. Presley played piano on songs such as "Old Shep" and "First in Line" from his 1956 album Elvis. He is credited with playing piano on later albums such as From Elvis in Memphis and "Moody Blue", and on "Unchained Melody", which was one of the last songs that he recorded. Presley played lead guitar on one of his successful singles called "Are You Lonesome Tonight". At one point during the '68 Comeback Special, Elvis took over on lead electric guitar, the first time he had ever been seen with the instrument in public, playing it on songs such as "Baby What You Want Me to Do" and "One Night". The album Elvis is Back! features Presley playing a lot of acoustic guitar on songs such as "I Will Be Home Again" and "Like a Baby".
Musical styles and genres
Presley was a central figure in the development of rockabilly, according to music historians. "Rockabilly crystallized into a recognizable style in 1954 with Elvis Presley's first release, on the Sun label," writes Craig Morrison. Paul Friedlander described rockabilly as "essentially ... an Elvis Presley construction", with the defining elements as "the raw, emotive, and slurred vocal style and emphasis on rhythmic feeling [of] the blues with the string band and strummed rhythm guitar [of] country". In "That's All Right", the Presley trio's first record, Scotty Moore's guitar solo, "a combination of Merle Travis–style country finger-picking, double-stop slides from acoustic boogie, and blues-based bent-note, single-string work, is a microcosm of this fusion". While Katherine Charlton calls Presley "rockabilly's originator", Carl Perkins, another pioneer of rock'n'roll, said that "[Sam] Phillips, Elvis, and I didn't create rockabilly". According to Michael Campbell, the first major rockabilly song was recorded by Bill Haley. In Moore's view, "It had been there for quite a while, really. Carl Perkins was doing basically the same sort of thing up around Jackson, and I know for a fact Jerry Lee Lewis had been playing that kind of music ever since he was ten years old."
At RCA Victor, Presley's rock and roll sound grew distinct from rockabilly with group chorus vocals, more heavily amplified electric guitars, and a tougher, more intense manner. While he was known for taking songs from various sources and giving them a rockabilly/rock and roll treatment, he also recorded songs in other genres from early in his career, from the pop standard "Blue Moon" at Sun Records to the country ballad "How's the World Treating You?" on his second RCA Victor LP to the blues of "Santa Claus Is Back in Town". In 1957, his first gospel record was released, the four-song EP Peace in the Valley. Certified as a million-seller, it became the top-selling gospel EP in recording history. Presley would record gospel periodically for the rest of his life.
After his return from military service in 1960, Presley continued to perform rock and roll, but the characteristic style was substantially toned down. His first post-Army single, the number-one hit "Stuck on You", is typical of this shift. RCA Victor publicity referred to its "mild rock beat"; discographer Ernst Jorgensen calls it "upbeat pop". The number five "She's Not You" (1962) "integrates the Jordanaires so completely, it's practically doo-wop". The modern blues/R&B sound captured with success on Elvis Is Back! was essentially abandoned for six years until such 1966–67 recordings as "Down in the Alley" and "Hi-Heel Sneakers". Presley's output during most of the 1960s emphasized pop music, often in the form of ballads such as "Are You Lonesome Tonight?", a number-one in 1960. "It's Now or Never", which also topped the chart that year, was a classically influenced variation of pop based on the Neapolitan song "'O sole mio" and concluding with a "full-voiced operatic cadence". These were both dramatic numbers, but most of what Presley recorded for his many film soundtracks was in a much lighter vein.
While Presley performed several of his classic ballads for the '68 Comeback Special, the sound of the show was dominated by aggressive rock and roll. He recorded few new straight rock and roll songs thereafter; as he explained, they had become "hard to find". A significant exception was "Burning Love", his last major hit on the pop charts. Like his work of the 1950s, Presley's subsequent recordings reworked pop and country songs, but in markedly different permutations. His stylistic range now began to embrace a more contemporary rock sound as well as soul and funk. Much of Elvis in Memphis, as well as "Suspicious Minds", cut at the same sessions, reflected this new rock and soul fusion. In the mid-1970s, many of his singles found a home on country radio, the field where he first became a star.
Vocal style and range
The developmental arc of Presley's singing voice, as described by critic Dave Marsh, goes from "high and thrilled in the early days, [to] lower and perplexed in the final months." Marsh credits Presley with the introduction of the "vocal stutter" on 1955's "Baby Let's Play House". When on "Don't Be Cruel", Presley "slides into a 'mmmmm' that marks the transition between the first two verses," he shows "how masterful his relaxed style really is." Marsh describes the vocal performance on "Can't Help Falling in Love" as one of "gentle insistence and delicacy of phrasing", with the line "'Shall I stay' pronounced as if the words are fragile as crystal".
Jorgensen calls the 1966 recording of "How Great Thou Art" "an extraordinary fulfillment of his vocal ambitions", as Presley "crafted for himself an ad-hoc arrangement in which he took every part of the four-part vocal, from [the] bass intro to the soaring heights of the song's operatic climax", becoming "a kind of one-man quartet". Guralnick finds "Stand by Me" from the same gospel sessions "a beautifully articulated, almost nakedly yearning performance", but, by contrast, feels that Presley reaches beyond his powers on "Where No One Stands Alone", resorting "to a kind of inelegant bellowing to push out a sound" that Jake Hess of the Statesmen Quartet had in his command. Hess himself thought that while others might have voices the equal of Presley's, "he had that certain something that everyone searches for all during their lifetime." Guralnick attempts to pinpoint that something: "The warmth of his voice, his controlled use of both vibrato technique and natural falsetto range, the subtlety and deeply felt conviction of his singing were all qualities recognizably belonging to his talent but just as recognizably not to be achieved without sustained dedication and effort."
Marsh praises his 1968 reading of "U.S. Male", "bearing down on the hard guy lyrics, not sending them up or overplaying them but tossing them around with that astonishingly tough yet gentle assurance that he brought to his Sun records." The performance on "In the Ghetto" is, according to Jorgensen, "devoid of any of his characteristic vocal tricks or mannerisms", instead relying on the exceptional "clarity and sensitivity of his voice". Guralnick describes the song's delivery as of "almost translucent eloquence ... so quietly confident in its simplicity". On "Suspicious Minds", Guralnick hears essentially the same "remarkable mixture of tenderness and poise", but supplemented with "an expressive quality somewhere between stoicism (at suspected infidelity) and anguish (over impending loss)".
Music critic Henry Pleasants observes that "Presley has been described variously as a baritone and a tenor. An extraordinary compass ... and a very wide range of vocal color have something to do with this divergence of opinion." He identifies Presley as a high baritone, calculating his range as two octaves and a third, "from the baritone low G to the tenor high B, with an upward extension in falsetto to at least a D-flat. Presley's best octave is in the middle, D-flat to D-flat, granting an extra full step up or down." In Pleasants' view, his voice was "variable and unpredictable" at the bottom, "often brilliant" at the top, with the capacity for "full-voiced high Gs and As that an opera baritone might envy". Scholar Lindsay Waters, who figures Presley's range as two-and-a-quarter octaves, emphasizes that "his voice had an emotional range from tender whispers to sighs down to shouts, grunts, grumbles, and sheer gruffness that could move the listener from calmness and surrender, to fear. His voice can not be measured in octaves, but in decibels; even that misses the problem of how to measure delicate whispers that are hardly audible at all." Presley was always "able to duplicate the open, hoarse, ecstatic, screaming, shouting, wailing, reckless sound of the black rhythm-and-blues and gospel singers", writes Pleasants, and also demonstrated a remarkable ability to assimilate many other vocal styles.
Public image
Relationship with the African-American community
When Dewey Phillips first aired "That's All Right" on Memphis' WHBQ, many listeners who contacted the station to ask for it again assumed that its singer was black. From the beginning of his national fame, Presley expressed respect for African-American performers and their music, and disregard for the segregation and racial prejudice then prevalent in the South. Interviewed in 1956, he recalled how in his childhood he would listen to blues musician Arthur Crudup—the originator of "That's All Right"—"bang his box the way I do now, and I said if I ever got to the place where I could feel all old Arthur felt, I'd be a music man like nobody ever saw." The Memphis World, an African-American newspaper, reported that Presley "cracked Memphis' segregation laws" by attending the local amusement park on what was designated as its "colored night". Such statements and actions led Presley to be generally hailed in the black community during his early stardom. In contrast, many white adults "did not like him, and condemned him as depraved. Anti-negro prejudice doubtless figured in adult antagonism. Regardless of whether parents were aware of the Negro sexual origins of the phrase 'rock 'n' roll', Presley impressed them as the visual and aural embodiment of sex."[6]
Despite the largely positive view of Presley held by African Americans, a rumor spread in mid-1957 that he had announced, "The only thing Negroes can do for me is buy my records and shine my shoes." A journalist with the national African American weekly Jet, Louie Robinson, pursued the story. On the set of Jailhouse Rock, Presley granted Robinson an interview, though he was no longer dealing with the mainstream press. He denied making such a statement:
I never said anything like that, and people who know me know that I wouldn't have said it. ... A lot of people seem to think I started this business. But rock 'n' roll was here a long time before I came along. Nobody can sing that kind of music like colored people. Let's face it: I can't sing like Fats Domino can. I know that.
Robinson found no evidence that the remark had ever been made, and elicited testimony from many individuals indicating that Presley was anything but racist. Blues singer Ivory Joe Hunter, who had heard the rumor before he visited Graceland, reported of Presley, "He showed me every courtesy, and I think he's one of the greatest." Though the rumored remark was discredited, it was still being used against Presley decades later.
The persistence of such attitudes was fueled by resentment over the fact that Presley, whose musical and visual performance idiom owed much to African-American sources, achieved the cultural acknowledgement and commercial success largely denied his black peers. Into the 21st century, the notion that Presley had "stolen" black music still found adherents.[350] Notable among African-American entertainers expressly rejecting this view was Jackie Wilson, who argued, "A lot of people have accused Elvis of stealing the black man's music, when in fact, almost every black solo entertainer copied his stage mannerisms from Elvis." Moreover, Presley acknowledged his debt to African-American musicians throughout his career. Addressing his '68 Comeback Special audience, he said, "Rock 'n' roll music is basically gospel or rhythm and blues, or it sprang from that. People have been adding to it, adding instruments to it, experimenting with it, but it all boils down to [that]." Nine years earlier, he had said, "Rock 'n' roll has been around for many years. It used to be called rhythm and blues."
Sex symbol
Presley's physical attractiveness and sexual appeal were widely acknowledged. "He was once beautiful, astonishingly beautiful", according to critic Mark Feeney. Television director Steve Binder reported, "I'm straight as an arrow and I got to tell you, you stop, whether you're male or female, to look at him. He was that good looking. And if you never knew he was a superstar, it wouldn't make any difference; if he'd walked in the room, you'd know somebody special was in your presence." His performance style was equally responsible for Presley's eroticized image. Critic George Melly described him as "the master of the sexual simile, treating his guitar as both phallus and girl". In his Presley obituary, Lester Bangs credited him with bringing "overt blatant vulgar sexual frenzy to the popular arts in America". Ed Sullivan's declaration that he perceived a soda bottle in Presley's trousers was echoed by rumors involving a similarly positioned toilet roll tube or lead bar.
While Presley was marketed as an icon of heterosexuality, some critics have argued that his image was ambiguous. In 1959, Sight and Sound's Peter John Dyer described his onscreen persona as "aggressively bisexual in appeal". Brett Farmer places the "orgasmic gyrations" of the title dance sequence in Jailhouse Rock within a lineage of cinematic musical numbers that offer a "spectacular eroticization, if not homoeroticization, of the male image". In the analysis of Yvonne Tasker, "Elvis was an ambivalent figure who articulated a peculiar feminised, objectifying version of white working-class masculinity as aggressive sexual display."
Reinforcing Presley's image as a sex symbol were the reports of his dalliances with Hollywood stars and starlets, from Natalie Wood in the 1950s to Connie Stevens and Ann-Margret in the 1960s to Candice Bergen and Cybill Shepherd in the 1970s. June Juanico of Memphis, one of Presley's early girlfriends, later blamed Parker for encouraging him to choose his dating partners with publicity in mind. Presley never grew comfortable with the Hollywood scene, and most of these relationships were insubstantial.
Legacy
Presley's rise to national attention in 1956 transformed the field of popular music and had a huge effect on the broader scope of popular culture. As the catalyst for the cultural revolution that was rock and roll, he was central not only to defining it as a musical genre but in making it a touchstone of youth culture and rebellious attitude. With its racially mixed origins—repeatedly affirmed by Presley—rock and roll's occupation of a central position in mainstream American culture facilitated a new acceptance and appreciation of black culture.
In this regard, Little Richard said of Presley, "He was an integrator. Elvis was a blessing. They wouldn't let black music through. He opened the door for black music." Al Green agreed: "He broke the ice for all of us."
President Jimmy Carter remarked on Presley's legacy in 1977: "His music and his personality, fusing the styles of white country and black rhythm and blues, permanently changed the face of American popular culture." Presley also heralded the vastly expanded reach of celebrity in the era of mass communication: within a year of his first appearance on American network television, he was regarded as one of the most famous people in the world.
Presley's name, image, and voice are recognized around the world. He has inspired a legion of impersonators. In polls and surveys, he is recognized as one of the most important popular music artists and influential Americans.[e] American composer and conductor Leonard Bernstein said, "Elvis Presley is the greatest cultural force in the twentieth century. He introduced the beat to everything and he changed everything—music, language, clothes." John Lennon said that "Nothing really affected me until Elvis." Bob Dylan described the sensation of first hearing Presley as "like busting out of jail".
For much of his adult life, Presley, with his rise from poverty to riches and fame, had seemed to epitomize the American Dream. In his final years, and following the revelations about his circumstances after his death, he became a symbol of excess and gluttony. Increasing attention was paid to his appetite for the rich, heavy Southern cooking of his upbringing, foods such as chicken-fried steak and biscuits and gravy. In particular, his love of fried peanut butter, banana, and (sometimes) bacon sandwiches, now known as "Elvis sandwiches", came to symbolize this characteristic.
Since 1977, there have been numerous alleged sightings of Presley. A long-standing conspiracy theory among some fans is that he faked his death. Adherents cite alleged discrepancies in the death certificate, reports of a wax dummy in his original coffin, and accounts of Presley planning a diversion so he could retire in peace. An unusually large number of fans have domestic shrines devoted to Presley and journey to sites with which he is connected, however faintly. On the anniversary of his death, thousands of people gather outside Graceland for a candlelight ritual. "With Elvis, it is not just his music that has survived death", writes Ted Harrison. "He himself has been raised, like a medieval saint, to a figure of cultic status. It is as if he has been canonized by acclamation."
On the 25th anniversary of Presley's death, The New York Times asserted:
All the talentless impersonators and appalling black velvet paintings on display can make him seem little more than a perverse and distant memory. But before Elvis was camp, he was its opposite: a genuine cultural force. ... Elvis' breakthroughs are underappreciated because in this rock-and-roll age, his hard-rocking music and sultry style have triumphed so completely.
He was ranked third on Rolling Stone's list of greatest artists. Bono wrote in appreciation:
In Elvis, you have the blueprint for rock & roll. The highness — the gospel highs. The mud — the Delta mud, the blues. Sexual liberation. Controversy. Changing the way people feel about the world. It's all there with Elvis.
Not only Presley's achievements but his failings as well, are seen by some cultural observers as adding to the power of his legacy, as in this description by Greil Marcus:
Elvis Presley is a supreme figure in American life, one whose presence, no matter how banal or predictable, brooks no real comparisons. ... The cultural range of his music has expanded to the point where it includes not only the hits of the day, but also patriotic recitals, pure country gospel, and really dirty blues. ... Elvis has emerged as a great artist, a great rocker, a great purveyor of schlock, a great heart throb, a great bore, a great symbol of potency, a great ham, a great nice person, and, yes, a great American.
Achievements
Having sold about 500 million records worldwide, Presley is one of the best-selling music artists of all time.[b] Presley's rankings for top ten and number-one hits vary depending on how the double-sided "Hound Dog/Don't Be Cruel" and "Don't/I Beg of You" singles, which precede the inception of Billboard's unified Hot 100 chart, are analyzed.[f] According to Whitburn's analysis, Presley holds the record with 38, tying with Madonna; per Billboard's current assessment, he ranks second with 36. Whitburn and Billboard concur that the Beatles hold the record for most number-one hits with 20, and that Mariah Carey is second with 19. Whitburn has Presley with 18: Billboard has him third with 17. According to Billboard, Presley has 79 cumulative weeks at number one: alone at 80, according to Whitburn and the Rock and Roll Hall of Fame, with only Mariah Carey having more with 91 weeks. He holds the records for most number-one singles on the UK chart with 21 and singles reaching the top ten with 76.
As an album artist, Presley is credited by Billboard with the record for the most albums charting in the Billboard 200: 129, far ahead of second-place Frank Sinatra's 82. He also holds the record for most cumulative weeks at number one on the Billboard 200 for a male solo artists: 67 weeks In 2015 and 2016, two albums setting Presley's vocals against music by the Royal Philharmonic Orchestra, If I Can Dream and The Wonder of You, both reached number one in the UK. This gave him a new record for number-one UK albums by a solo artist with 13, and extended his record for longest span between number-one albums by anybody—Presley had first topped the British chart in 1956 with his self-titled debut.
As of 2023 , the Recording Industry Association of America (RIAA) credits Presley with 146.5 million certified album sales in the US, third all time behind the Beatles and Garth Brooks. He holds the records for most gold albums (101, nearly double second-place Barbra Streisand's 51), and most platinum albums (57). His 25 multi-platinum albums is second behind the Beatles' 26. His total of 197 album certification awards (including one diamond award), far outpaces the Beatles' second-best 122. He has the 9th-most gold singles (54, tied with Justin Bieber), and the 16th-most platinum singles (27).
In 2012, the spider Paradonea presleyi was named in his honor. In 2018, President Donald Trump awarded Presley the Presidential Medal of Freedom posthumously.
Discography
A vast number of recordings have been issued under Presley's name. The number of his original master recordings has been variously calculated as 665 and 711. His career began and he was most successful during an era when singles were the primary commercial medium for pop music. For his albums, the distinction between "official" studio records and other forms is often blurred.
Filmography
Films starred
TV concert specials
Elvis (1968)
Aloha from Hawaii via Satellite (1973)
Elvis in Concert (1977)
See also
Explanatory notes
References
Citations
General sources
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FactBench
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3
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https://www.cleveland.com/music/2008/06/rock_pioneer_bo_diddley_dies_a.html
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Rock pioneer Bo Diddley dies at age 79
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2008-06-02T21:12:46+00:00
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AP FileRock and Roll Hall of Famer Bo Diddley died of heart failure Monday in Florida. He was 79. JACKSONVILLE, FLA. -- Bo Diddley, a founding father of rock 'n' roll whose distinctive "shave and a haircut, two bits" rhythm...
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cleveland
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https://www.cleveland.com/music/2008/06/rock_pioneer_bo_diddley_dies_a.html
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JACKSONVILLE, FLA. -- Bo Diddley, a founding father of rock 'n' roll whose distinctive "shave and a haircut, two bits" rhythm and innovative guitar effects inspired legions of other musicians, died today after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation.
The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood's Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton.
Diddley appreciated the honors he received, "but it didn't put no figures in my checkbook."
"If you ain't got no money, ain't nobody calls you honey," he quipped.
"Bo Diddley is one of the seminal American guitarists and an architect of the rock 'n' roll sound," Terry Stewart, president and CEO of the Rock and Roll Hall of Fame and Museum, said in a statement.
"His unique guitar work, indelible rhythms, inventive songwriting and larger-than-life personality make him an immortal author of the American Songbook," Stewart said.
The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview.
"I don't know where the kids got it, but the kids in grammar school gave me that name," he said, adding that he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow.
His first single, "Bo Diddley," introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as "shave and a haircut, two bits." The B side, "I'm a Man," with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars.
Diddley's other major songs included, "Say Man," "You Can't Judge a Book by Its Cover," "Shave and a Haircut," "Uncle John," "Who Do You Love?" and "The Mule."
Diddley's influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song "Not Fade Away."
The Rolling Stones' bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the United States with their version of "I'm a Man."
Diddley was also one of the pioneers of the electric guitar, adding reverb and tremelo effects. He even rigged some of his guitars himself.
"He treats it like it was a drum, very rhythmic," E. Michael Harrington, professor of music theory and composition at Belmont University in Nashville, Tenn., said in 2006.
Cleveland singer-songwriter Alex Bevan was the opening act when Diddley and the Clash shared the bill for a February 1979 concert at Cleveland's Agora Theatre. Members of the British punk group handpicked Diddley to join them on their first U.S. tour.
Diddley "was very gracious," Bevan recalled. "The Clash had barricaded themselves in the main dressing room, while Bo and I shared a dressing room. He was there with just one helper, hanging out.
"Bo let me pick up his square guitar. I didn't play it. I just looked at it. To me, it was like I was holding a treasure. To him, I'm sure it was just a guitar."
Many artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley's style.
Growing up, Diddley said he had no musical idols, and he wasn't entirely pleased that others drew on his innovations.
"I don't like to copy anybody. Everybody tries to do what I do, update it," he said. "I don't have any idols I copied after."
"They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there," he said.
Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida.
"Seventy ain't nothing but a damn number," he told the Associated Press in 1999. "I'm writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain't quit yet."
Diddley, like other artists of his generations, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances.
"I am owed. I've never got paid," he said. "A dude with a pencil is worse than a cat with a machine gun."
In the early 1950s, Diddley said, disc jockeys called his type of music, "Jungle Music." It was Cleveland disc jockey Alan Freed who is credited with inventing the term "rock 'n' roll."
Diddley said Freed was talking about him, when he introduced him, saying, "Here is a man with an original sound, who is going to rock and roll you right out of your seat."
Diddley won attention from a new generation in 1989 when he took part in the "Bo Knows" ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson's guitar skills, Diddley turned to the camera and said, "He don't know Diddley."
"I never could figure out what it had to do with shoes, but it worked," Diddley said. "I got into a lot of new front rooms on the tube."
Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother's cousin and took on the name Ellis McDaniel, which his wife always called him.
When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners.
By his early teens, Diddley was playing Chicago's Maxwell Street.
"I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don't have the same impact that I had," he said.
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Rock pioneer Bo Diddley dies at age 79
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2008-06-02T00:00:00
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JACKSONVILLE, Fla. Bo Diddley, a founding father of rock 'n' roll whose distinctive
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correct_death_00084
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FactBench
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en
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Rock ‘n’ Roll Pioneer Bo Diddley Dies at 79
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2008-06-02T19:19:00-04:00
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Venerable rock 'n' roll music architect B
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/favicon.ico
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BMI.com
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https://www.bmi.com/news/entry/rock_n_roll_pioneer_bo_diddley_dies_at_79
|
Venerable rock ‘n’ roll music architect Bo Diddley died Monday. He was 79 years-old.
Born Otha Ellas Bates on December 30, 1928, in McComb, Mississippi, to a 15 or 16 year-old mother, Mr. Diddley was raised by a cousin, Gussie McDaniel. While still a young child, he and his family moved to Chicago, and he officially adopted the surname McDaniel.
In Chicago, Mr. Diddley discovered other delta transplants including Muddy Waters and John Lee Hooker, whom he grew to idolize. His stepsister Lucille gave him a guitar for Christmas in 1940, when he was almost 12 years-old.
As a young man in the early 1950s, he assumed the stage name Bo Diddley, and he proceeded to record more than two dozen albums for the legendary Chess label family. His signature rhythm - often described as “shave and a haircut, two bits” - innovatively bridged deep blues and rhythm and blues, laying the quintessential groundwork for bourgeoning rock ‘n’ roll. The new sound’s eventual icons including the Rolling Stones, the Beatles and Elvis Presley emulated, borrowed from and openly worshipped Diddley’s music.
When the Beatles first fielded questions from the media on American soil in 1964, John Lennon proclaimed he was most excited about seeing Bo Diddley in the flesh.
His masterful songs including “Hey, Bo Diddley,” “I’m a Man,” “Love is Strange,” “Bo Diddley (My Story)” and “Before You Accuse Me” traversed raw love, pain and life with singular wit and candor.
In addition to his trendsetting as a songwriter and percussional guitar stylist, Mr. Diddley’s incomparable contributions include innovative, homemade amplifiers, experimentation with guitar tone and influential staccato vocal delivery. His enthralling live performances are also legendary.
On June 6, Congress passed a resolution honoring the legendary rock ‘n’ roll star, “Saluting the life and music of the late Otha Ellas ‘Bo Diddley’ Bates, guitar virtuoso and rock and roll pioneer, whose music continues to influence generations of musicians.”
A longtime BMI songwriter, Bo Diddley has been the recipient of two BMI R&B Awards, a Pop Award and two Million-Air citations. He was named a BMI Icon in May 2002.
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Posts about Bo Diddley written by craigr244
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en
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PopBopRocktilUDrop
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https://kimsloans.wordpress.com/tag/bo-diddley/
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“Check Mate” & “Crown Me”
(This Post is based on the fine book “Spinning Blues Into Gold – The Chess Brothers and the Legendary Chess Records” by Nadine Cohodas (published 2000).
The Macomba Lounge was situated in Chicago’s ‘South Side’ where an expanding black population bordered with a heavily Jewish population – many of which migrated from Europe’s eastern bloc of nations during turbulent times.
The black migration took a much different form – coming in waves during the 20th century with huge segments of the southern U.S. black population seeking a better way of life in North American industrial cities, Chicago prime among them.
Chicago’s South Side would constantly evolve with the two populations vying for neighborhoods and for a time – in the 1930’s – the two would plant themselves in close but separated proximity to one another. Jewish businesses flourished serving both populations with liquor stores and night clubs lining the streets. It was here that a different brand of music – if not entirely invented – took a giant stride forward, toward laying down the essential ingredients for what would become rock and roll.
And as was so often the case in other musical outposts across the nation, the pioneers would prove to be most unlikely. You had Sam Phillips down in Memphis with his particular vision, Jim Stewart and his sister Estelle Axton also in Memphis, Ahmet Ertegün and Herb Abramson out on the east coast, and a whole stable on composers hanging out in New York City, descendants of the men and women of “Tin Pan Alley” who would come to be known collectively as the “Brill Building” song writers.
So many conclaves there were across the nation – Bob Keene and Al Kavelin out in Hollywood, the Bihari family in Los Angeles, Norman Petty and his wife Vi in remote and isolated Clovis, New Mexico. So diverse, often so unlikely, and yet it would all come together in an explosion, changing music forever.
The Fabulous Czyż’s
And so it was in the Windy City that a young man, Lejzor Shmuel Czyż and his younger brother Fiszel, would take ownership of the Macomba Lounge. By that time they had changed their names to Leonard and Philip, and they both assumed duties at the Macomba which involved very long hours and the wearing of many hats.
It didn’t take long for Leonard to appreciate the importance of music to the local community and to him, that could only spell more earning potential. Before long Leonard was encouraging blues and jazz musicians to stop by the lounge for impromptu and scheduled sessions. Judging from the reaction he witnessed from his patrons, it was only natural for Leonard to become curious about the burgeoning record business that seemed to be popping up everywhere.
One thing led to another and in short order, Leonard found his way into ownership of a local record label called “Aristocrat”. Through his associations at the Macomba Leonard was meeting many local talented musicians. The recording business was demanding so much of Leonard’s time that brother Philip held down the operation of the Macomba.
Although the artists who entered the Macomba often included those of national prominence, the big names rarely actually performed there as has been alluded to in some histories, but the talent was impressive. Andrew Tibbs, pianist Bill Search, sax players Claude McLin and Cozy Eggleston and Tom Archia just to name a few.
Leonard was tenacious in his pursuit of a record label – especially when he firmly decided that he wanted to record a tune he heard from his acquaintence Tom Archia. Before long he entered into partnership with Aristocrat part-owners Evelyn and Charles Aron, and before long Leonard realized his goal of releasing Tom Archia’s “Bilbo Is Dead” backed with “Union Man Blues” by Andrew Tibbs. Leonard claimed partial composing credits for this initial release even though he had no composing involvement.
The Arons went through a divorce in the Spring of 1948 and shortly thereafter Leonard took sole ownership. Soon his brother Philip was by his side as a full-time partner. And then the big moment – Leonard meets a young musician, McKinely Moganfield out of Mississippi, a bond and a solid friendship is born – and with Morganfield in place with Leonard and Philip, the two brothers and “Muddy Waters” would charge ahead bringing the world some of the most enduring rhythm and blues and rock and roll that we shall forever be graced with!
The Chess brothers established their “Checker” label with first releases appearing in the spring of 1952. Establishing a subsidiary label, according to Cohodas, was a practice by label owners to – in part – obtain additional air play for their releases, the thinking being that radio stations would limit how many records from one label would receive attention.
Bring On Rock and Roll
Some very interesting factoids are sprinkled throughout “Spinning Blues”. The initial Aristocrat and then Chess stable of musicians were divided about equally between jazz musicians and blues musicians. And according to jazz musician Eddie Johnson, the two groups had little to do with each other, “We really ignored that type of music (blues). It said nothing to us.” And another jazz master – Bobby Blevins told Cohodas, “We didn’t think it was going anywhere.”
But in time, rhythm and blues, and then rock would move to the forefront. This was spurred on by Muddy Waters for one, who was employing a backbeat in his arrangements and he featured a driving drum with two electric guitars. Leonard Chess resisted this initially but finally came around.
Leonard Chess was a relentless and hard working businessman and his never ending pursuit for talent. His travels often took him into the South, where in Memphis, he would befriend Sam Phillips at Sun Records. Phillips had been working with the California-based Bihari family, working on a “handshake” type agreement, making Sun recording talent available on a choose as you will basis.
But after Leonard made Sam’s acquaintance the Bihari family suddenly had competition. This competition took it’s most impact-full form when Sam permitted Leonard to take possession of a little ditty called “Rocket-88” recorded in Memphis by Phillips with Jackie Brenston on the vocals backed by piano player Ike Turner. Leonard released the record first on a 78 rpm – Chess 1458 and would “rocket” to the top of the R&B charts reaching number 1 and staying there for five weeks.
Was “Rocket 88” the first rock and roll record? Cohodas offers that folks out on the West Coast would say there were plenty of pre-Rocket recordings presenting the rock beat – and so that conversation will never really be settled.
Beyond the Blues – Doo Wop & Rock Come-A-Knockin’
Glowing with Harvey and Lester
For the Chess brothers, the blues releases continued to fare well in northern city markets – as well as in the South – placing consistently on the regional charts as well as on Cashbox and Billboard r&b (or “race”) charts and often entering juke box play charts and ‘most played by disc jockey’ charts.
But something was missing according to Cohodas. The large East Coast market was not enchanted with the blues. Among the black buying public vocal groups were the rage. And there was another development up and down the East Coast: White teenagers were tuning into the black music. And they wanted music that jumped. Cohodas sites their taste as being rooted in “cat music”.
The first big break for Chess came when Cleveland DJ Alan Freed sent over a group who was floundering with Chance Records. The group, which included Harvey Fuqua and Bobby Lester – two childhood friends – was ready for a change. Freed made the arrangements and soon the group was under the Chess umbrella. Their very first effort for Chess, “Sincerely” was a big success, racing up the charts. Chess had found it’s first doo wop group of substance.
Interestingly, it was Phil Chess who, while on a business trip, met the manager for the McGuire Sisters. A meeting was arranged in a hotel where the sisters were staying. They, along with their manager and Phil listened to the Moonglow track. The girls loved it, recorded it, and released it. The song charged to the top of the Billboard pop charts, hitting number one and staying there for 10 weeks! (The Moonglows reached number 20 on the same chart)
Some would later cite this as a white act “covering” a black act – but in reality, the move benefited both parties – with Harvey Fuqua receiving composer’s royalties. If there was any injustice it might have been with Alan Freed receiving co-composer royalties for the song in which he had no involvement. This practice was common with independent labels (and probably majors) placing names of movers and shakers (read “DJ’s”) as a way of returning favors. This would of course explode into the “payola” scandal a few years later.
Diddley Dee Dum
The next big break for Chess occurred literally when a musician out of Mississippi came to Chicago with his fledgling group knocking on doors being first rejected by United Records and then quickly by Vee Jay Records. Chess was located adjacent to Vee Jay and so Ellas McDonald walked on over and walked in meeting Phil Chess.
They played their demo and were invited to return with their instruments the next day. They had two songs to record, the first being “Uncle John” and the second “I’m a Man”. The Cohodas narrative of this session is very intriguing and fun and worth the purchase of the book by itself. But moving ahead, “Uncle John” was changed to “Bo Diddley” by Leonard Chess, Ellas also became “Bo Diddley”. The final session included Diddley, his own group; James Bradford (bass), Billy Boy Arnold (harmonica), Clifton James (drums), Jerome Green (maracas) and supplemented by piano player Otis Spann and Willie Dixon on bass on the second track.
Rock and Roll had pretty much arrived at Chess with the recording of these two tracks. The songs didn’t crash the Hot 100 but took the R&B charts by storm with “Bo Diddley” b/w “I’m a Man” hitting the number 1 spot in the the Spring of 1955, released on the Checker label. Diddley was never a mainstay of the Hot 100 but fared very well with the R&B market and in time, became a rock and roll legend.
The next Bo Diddley recording, “Diddley Daddy” reached number 11 R&B charts and featured a vocal backing by the newly arrived Moonglows”.
Ida May and Ida Will
The third, and undoubtedly the most significant and historic break for Chess Records came in the Spring of 1955. A not-so-young Charles Edward Anderson Berry (already in his late 20’s) was holding up in his car outside the Chess offices – He had been directed there after traveling from St. Louis to Chicago seeking a way to be recorded. The night before Chuck Berry had made contact with Muddy Waters at a local night club where Waters was performing. He directed Berry to go meet the Chess brothers.
Leonard was receptive to the meeting and said he needed to hear something. Chuck headed back to St. Louis to round up his group, as well as quickly composing four songs to place on tape. Berry, accompanied by his band (Johnnie Johnson – piano, and Ebby Hardy – drums) returned to Chess for their May recording session. They were joined by Chess regular Willie Dixon on stand-up bass.
The first track – now called “Maybellene” (renamed by Leonard) required three dozen takes. Three more tracks were completed and the world would now soon hear the great Chuck Berry for the first time – one of the most important dates in the history of rock and roll!
Three of the four tracks recorded that day were included on Berry’s first two Chess releases. The fourth, “You Can’t Catch Me” would not be released until the Winter of 1956.
Chess Side Notes
Speaking of whites covering black’s recordings, Nadine Cohodas points out that there was a very big movement toward the end of the 1940’s into the 1950’s where black musicians were scrambling to dig up old Tin Pan Alley (white) hit tunes and redo them in a different vein appealing to their followings. Don’t hear too much about that I suppose.
On a side note, Leonard and Phil selected the catalog number “1425” for their first single release drawing from the street address of their first home in Chicago, 1425 South Karlov Avenue.
(The First Chess Release – Numbered After the Chess Household)
Number 1’s?
With all that was pressed and released on vinyl at Chess/Checker – 1972’s “My Ding-A-Ling” by Chuck Berry would become the label’s first number one record! And I don’t know if they had another one.
And the Macomba?
The Chess brothers maintained ownership from 1946 until 1950, when sadly, a national treasure burned to the ground. The Brothers Chess elected not to rebuild but instead used the insurance proceeds to invest further into their record company.
Chess Scrapbook
Leonard Chess was born in March of 1917 in Motal, Poland (which became Belarus) and passed away on October 16th, 1969 at age 52. He died shortly after selling his label to General Recorded Tape company. His brother Phil Chess was born in March of 1921 also in Motal and died on October 18th, 2016 at age 95. The Chess brothers sold their recording enterprise in October of 1969.
Chess/Checker of Significance
Here are many of the mainstay Chess Record family musicians depicting their earliest release – followed by several of the artists they acquired from other labels, and releasing their songs on the Chess labels.
Muddy Waters – June, 1950
Doc Pomus – November, 1950
John Lee Hooker – May, 1951
Jackie Brenston and His Delta Cats – April, 1951
Ike Turner and His Kings of Rhythm – April, 1951
Same group as “The Delta Cats”
Rufus Thomas Jr. – July, 1951
The Howlin’ Wolf – August, 1951
Roscoe Gordon – November, 1951
Memphis Slim & The House Rockers – January, 1952
Little Walter and His Nightcaps – August, 1952
Joe Williams – September, 1952
Willie Mabon – November, 1952
The Cleffs – October, 1952
Washboard Sam – July, 1953
Elmore James – July, 1953
The Moonglows – October, 1954
Jimmy Witherspoon – February, 1955
Bo Diddley – April, 1955
Chuck Berry – July, 1955
Bobby Charles – October, 1955
(Yes, “Later Alligator” was the B side)
Dale Hawkins – July, 1956
“Susie Q” would be Dale’s second release on the Checker label.
Clarence “Frog Man” Henry – October, 1956
Clarence was one of the first artists to be released on the Chess subsidiary label “Argo” which would primarily be reserved for jazz releases with a few exceptions.
The Ravens – December, 1956
Johnnie & Joe – April, 1957
Original February, 1957
Lee Andrew and the Hearts – July, 1957
Original Release 1957
The Tune Weavers – August, 1957
Original release on Casa Grande – June, 1957
Jimmy McCracklin – January, 1958
The Monotones – February, 1958
Original release on Mascot Records – December, 1957
Larry Williams – August, 1959
Etta James – July, 1960
The Maratons – April, 1961
A story behind this one – The Marathons were the Olympics – named masked in order to release song on Arvee where it became a hit but first recorded by Chess.
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https://www.ocala.com/story/news/2008/06/06/bo-diddley-man-legend-neighbor/31249615007/
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Bo Diddley: Man, legend, neighbor
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"DAVE SCHLENKER Star-Banner, The Star Banner"
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2008-06-06T00:00:00
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This is my Diddley story, and, I must say, it's a good one.
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en
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Ocala Star-Banner
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https://www.ocala.com/story/news/2008/06/06/bo-diddley-man-legend-neighbor/31249615007/
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Bo Diddley strolled through The Gainesville Sun's newsroom in late 2003, flirting with female staffers, shaking any extended hand and, for the most part, tolerating me.
The Rock 'n' Roll Hall of Famer was days away from turning 75, and my job, as the paper's entertainment editor, was to herd Diddley beyond the distractions of being Bo Diddley and into a photo studio packed with birthday balloons. There, we would ask Diddley - THE Bo Diddley - to take out his box guitar, riff a bit and allow us to take photos.
Oh, and we planned to throw confetti at him. I had been to a party store hours earlier and loaded up on colorful favors to use as props for Diddley's photo shoot, which would be used for a story package about Diddley's birthday concert later that month.
The idea was simple: literally shower Bo with party crud as he grooved on his box guitar and a photographer snapped photos. And all went very, very well - until I asked Diddley if he would wear a Hello Kitty birthday hat.
The response was clearly disgusted and declarative: "No, man, I'm not wearing that."
He did not look up - a polite way of telling us we were pushing it - and continued to riff on his guitar. A small crowd had gathered in the studio at this point, mostly newsroom staffers who, myself included, discarded objectivity and cynicism to bask in Bo's airspace.
You see, people toss around the word "legend" too often and too loosely these days. But Diddley was a rock 'n' roll cornerstone and, make no mistake, a legend.
He was a legend who had settled near Archer and, more notably, became an active member in that community. He was a legend who played benefit concerts and made many friends in North Central Florida.
A legend who refused to trade his signature felt black hat for a paper cone and a rubber band. A legend who was growing tired of a photo shoot with too many silly trappings and too many gawkers.
So Bo started singing along to his bluesy ad-libs. I can't remember the exact lyrics, but the message was clear, albeit subtle:
"Better leave me alone/Better get outta my face ..."
"Bo, you doing OK?" we asked.
"Oh yeah, I'm fine," he responded cordially before dropping back into the blues: "Gettin' sick of this place/Better leave me alone ..."
Bo left the office on good terms that day, the photos turned out great, as did the story. The birthday concert, by the way, was more than just a reminder that the 75-year-old still had amazing chops. The heart of the event was Diddley christening a new performing arts hall in Gainesville.
And that photo of Diddley smiling amid balloons and a hail of confetti always makes me smile. This is my Diddley story, and, I must say, it's a good one.
It seems everybody has a Bo Diddley story. He was undisputed royalty in rock and blues circles, a man who inspired everyone from The Rolling Stones to Tom Petty. Yet, in Florida, he also was a neighbor as approachable as Floyd the barber.
So when Bo died Monday, the Diddley stories surfaced en masse. Journalists recalled his pull-no-punches interviews, while musicians recalled impromptu jam sessions and that beloved Bo Diddley beat. All, however, recalled a gentle, sometimes-grumpy soul who knew more about being a good neighbor than acting like a celebrity.
"He was a giant. He was one of the 50 immortals," said Dunnellon banjo player Mark Johnson. "But here's the thing about Bo Diddley: He was so accessible to the people. If somebody wanted him to play some small charity event, he'd show up and do it."
Johnson has great Diddley stories, too. The two musicians once got their gear crossed while sharing a plane to Indiana for gigs.
Later, Johnson ran into Diddley at IGA Supermarket in Bronson. Johnson was buying breakfast, and Bo was chatting up the cashiers. The next thing Johnson knew, he was playing his new Deering banjo for Diddley in the store's parking lot, which then prompted Diddley - now sitting in the cab of his truck - to perform his new song "Leave" for Johnson.
A bit surreal, Johnson admits: A clawhammer banjo picker in boots trading tunes with Bo Diddley at 8 a.m. in a grocery store parking in Levy County.
These are the glorious moments of homespun spontaneity that framed Diddley's life. The commercial windfall of his music skirted him, and he rightfully groused about it to the end.
But, days after his death, one thing is clear: Everybody has a Bo Diddley story to tell, and THAT is the benchmark of a true legend.
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http://www.film-tech.com/ubb/f8/t005485.html
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Tech Forum ARCHIVE: Bo Diddley dies at 79
|
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Steve Guttag
We forgot the crackers Gromit!!!
Posts: 12814
From: Annapolis, MD
Registered: Dec 1999
posted 06-03-2008 05:27 AM AP Article
quote: JACKSONVILLE, Fla. (AP) — Bo Diddley, a founding father of rock 'n' roll whose distinctive "shave and a haircut, two bits" rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation.
The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood's Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton.
Diddley appreciated the honors he received, "but it didn't put no figures in my checkbook."
"If you ain't got no money, ain't nobody calls you honey," he quipped.
The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview.
"I don't know where the kids got it, but the kids in grammar school gave me that name," he said, adding that he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow.
His first single, "Bo Diddley," introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as "shave and a haircut, two bits." The B side, "I'm a Man," with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars.
Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley's Chess recordings "stand among the best singular recordings of the 20th century."
Diddley's other major songs included, "Say Man," "You Can't Judge a Book by Its Cover," "Shave and a Haircut," "Uncle John," "Who Do You Love?" and "The Mule."
Diddley's influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song "Not Fade Away."
The Rolling Stones' bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of "I'm a Man."
Diddley was also one of the pioneers of the electric guitar, adding reverb and tremelo effects. He even rigged some of his guitars himself.
"He treats it like it was a drum, very rhythmic," E. Michael Harrington, professor of music theory and composition at Belmont University in Nashville, Tenn., said in 2006.
Many other artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley's style.
Growing up, Diddley said he had no musical idols, and he wasn't entirely pleased that others drew on his innovations.
"I don't like to copy anybody. Everybody tries to do what I do, update it," he said. "I don't have any idols I copied after."
"They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there," he said.
Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida.
"Seventy ain't nothing but a damn number," he told The Associated Press in 1999. "I'm writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain't quit yet."
Diddley, like other artists of his generations, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances.
"I am owed. I've never got paid," he said. "A dude with a pencil is worse than a cat with a machine gun."
In the early 1950s, Diddley said, disc jockeys called his type of music, "Jungle Music." It was Cleveland disc jockey Alan Freed who is credited with inventing the term "rock 'n' roll."
Diddley said Freed was talking about him, when he introduced him, saying, "Here is a man with an original sound, who is going to rock and roll you right out of your seat."
Diddley won attention from a new generation in 1989 when he took part in the "Bo Knows" ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson's guitar skills, Diddley says to him, "Bo, you don't know diddly."
"I never could figure out what it had to do with shoes, but it worked," Diddley said. "I got into a lot of new front rooms on the tube."
Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother's cousin and took on the name Ellis McDaniel, which his wife always called him.
When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners.
By his early teens, Diddley was playing Chicago's Maxwell Street.
"I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don't have the same impact that I had," he said.
(This version CORRECTS the description of the Nike ad.)
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0
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https://www.wesa.fm/2008-06-02/remembering-rock-and-roll-legend-bo-diddley
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en
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Remembering Rock and Roll Legend Bo Diddley
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2008-06-02T00:00:00
|
Rock pioneer Bo Diddley, who died Monday at the age of 79, leaves behind a sound that helped build a musical genre. Born in Mississippi and raised in Chicago, Diddley played guitar on street corners before being discovered by Chess Records.
|
en
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/apple-touch-icon.png
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90.5 WESA
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https://www.wesa.fm/2008-06-02/remembering-rock-and-roll-legend-bo-diddley
|
NEAL CONAN, host:
An American original died today. Nobody else looked like Bo Diddley with the shades and that black hat. Nobody else played that homemade square guitar, and while everybody from Buddy Holly to Bruce Springsteen borrowed that distinctive bom bom bom bom bom bah bom bah bom bom, it will be forever known as Bo's beat. Born Ellas Bates in 1928, later known as Ellas McDaniel, Bo told any number of stories about how he got the name. Most often, he said it was a nickname he picked up as a kid on the playgrounds in Chicago.
He first hit the charts in 1955 with the song that bears his name. Chess Records released a string of hits afterwards. Bo always complained that other people made a lot more money off his records than he ever did. And while he welcomed the honors received later in life, including induction into the Rock and Roll Hall of Fame, "It didn't put no figures in my checkbook," as he put it. He suffered a stroke while on tour last year in Iowa, then a heart attack, and died today of heart failure at his home in Archer, Florida, at the age of 79.
(Soundbite of song "Who Do You Love?")
Mr. BO DIDDLEY: (Singing) I walked 47 miles of barbed wire I used a cobra snake for a neck tie. I got a brand new house on the roadside, Made out of rattlesnake hide. I got a brand new chimney made on top, Made out of human skulls.
Now, come on, take a little walk with me, Arlene, And tell me, who do you love?
Who do you love? Who do you love? Who do you love? Who do you love? Who do you love?
Tombstone hand and a graveyard mind, I'm just 22 and I ain't scared of dying.
Who do you love? Who do you love? Who do you love? Who do you love?
I rode around the town, need a rattlesnake whip, Taking these, Arlene, you don't give me no lip.
Who do you love? Who do you love? Who do you love? Who do you love?
Night was black and the sky was blue, Around the ally, an ice wagon flew. Good old bump and somebody screamed, You should have heard just what I seen.
Who do you love? Who do you love? Who do you love? Who do you love?
Arlene took me by my hand She said, ooh, eeh, boy, you know I understand
Who do you love? Who do you love? Who do you love? Who do you love?
CONAN: Bo Diddley who died earlier today at the age of 79. This is Talk of the Nation from NPR News. I'm Neal Conan in Washington. Transcript provided by NPR, Copyright NPR.
|
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correct_death_00084
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FactBench
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3
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https://www.today.com/popculture/rock-pioneer-bo-diddley-dies-age-79-wbna24933262
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en
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Rock pioneer Bo Diddley dies at age 79
|
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2008-06-02T16:09:50+00:00
|
Rock pioneer Bo Diddley has died. He was 79. A spokeswoman says Diddley died of heart failure Monday. He had suffered a heart attack in August 2007, three months after suffering a stroke while touring in Iowa.
|
en
|
https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/today/all-other-sizes-PNG.ico/favicon.ico
|
TODAY.com
|
https://www.today.com/popculture/rock-pioneer-bo-diddley-dies-age-79-wbna24933262
|
Bo Diddley, a founding father of rock ’n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation.
The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood’s Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton.
Diddley appreciated the honors he received, “but it didn’t put no figures in my checkbook.”
“If you ain’t got no money, ain’t nobody calls you honey,” he quipped.
Introducing BoThe name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview.
“I don’t know where the kids got it, but the kids in grammar school gave me that name,” he said, adding that he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow.
His first single, “Bo Diddley,” introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as “shave and a haircut, two bits.” The B side, “I’m a Man,” with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars.
Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley’s Chess recordings “stand among the best singular recordings of the 20th century.”
Diddley’s other major songs included, “Say Man,” “You Can’t Judge a Book by Its Cover,” “Shave and a Haircut,” “Uncle John,” “Who Do You Love?” and “The Mule.”
Spreading influenceDiddley’s influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song “Not Fade Away.”
The Rolling Stones’ bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of “I’m a Man.”
Diddley was also one of the pioneers of the electric guitar, adding reverb and tremelo effects. He even rigged some of his guitars himself.
“He treats it like it was a drum, very rhythmic,” E. Michael Harrington, professor of music theory and composition at Belmont University in Nashville, Tenn., said in 2006.
Many other artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley’s style.
Growing up, Diddley said he had no musical idols, and he wasn’t entirely pleased that others drew on his innovations.
“I don’t like to copy anybody. Everybody tries to do what I do, update it,” he said. “I don’t have any idols I copied after.”
“They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there,” he said.
‘I never got paid’Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida.
“Seventy ain’t nothing but a damn number,” he told The Associated Press in 1999. “I’m writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain’t quit yet.”
Diddley, like other artists of his generations, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances.
“I am owed. I’ve never got paid,” he said. “A dude with a pencil is worse than a cat with a machine gun.”
In the early 1950s, Diddley said, disc jockeys called his type of music, “Jungle Music.” It was Cleveland disc jockey Alan Freed who is credited with inventing the term “rock ’n’ roll.”
Diddley said Freed was talking about him, when he introduced him, saying, “Here is a man with an original sound, who is going to rock and roll you right out of your seat.”
Diddley won attention from a new generation in 1989 when he took part in the “Bo Knows” ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson’s guitar skills, Diddley says to him, “Bo, you don’t know diddly.”
“I never could figure out what it had to do with shoes, but it worked,” Diddley said. “I got into a lot of new front rooms on the tube.”
Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother’s cousin and took on the name Ellis McDaniel, which his wife always called him.
When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners.
By his early teens, Diddley was playing Chicago’s Maxwell Street.
“I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don’t have the same impact that I had,” he said.
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correct_death_00084
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Bo Diddley
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Ellas McDaniel (born Ellas Otha Bates, December 30, 1928 – June 2, 2008), known as Bo Diddley, was an American R&B and Chicago blues singer, guitarist, songwriter and music producer who played a key…
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Ellas McDaniel (born Ellas Otha Bates, December 30, 1928 – June 2, 2008), known as Bo Diddley, was an American R&B and Chicago blues singer, guitarist, songwriter and music producer who played a key role in the transition from the blues to rock and roll, and influenced artists including Elvis Presley, Buddy Holly, the Beatles, the Rolling Stones, the Yardbirds, Eric Clapton, the Who, Jimi Hendrix and Parliament-Funkadelic.
His use of African rhythms and a signature beat, a simple five-accent hambone rhythm, is a cornerstone of hip hop, rock, and pop. In recognition of his achievements, he was inducted into the Rock and Roll Hall of Fame and received Lifetime Achievement Awards from the Rhythm and Blues Foundation and a Grammy Award from the National Academy of Recording Arts and Sciences. He is also recognized for his technical innovations, including his distinctive rectangular guitar.
Life
Early life and career
Born in McComb, Mississippi, as Ellas Otha Bates, he was adopted and raised by his mother's cousin, Gussie McDaniel, whose surname he assumed. In 1934, the McDaniel family moved to the South Side of Chicago, where he dropped the Otha and became Ellas McDaniel. He was an active member of Chicago's Ebenezer Baptist Church, where he studied the trombone and the violin, becoming so proficient on the violin that the musical director invited him to join the orchestra. He performed until he was 18. However, he was more interested in the pulsating, rhythmic music he heard at a local Pentecostal church and took up the guitar.
Inspired by a performance by John Lee Hooker, he supplemented his income as a carpenter and mechanic by playing on street corners with friends, including Jerome Green (c. 1934–1973), in the Hipsters band, later renamed the Langley Avenue Jive Cats. Green became a near-constant member of McDaniel's backing band, the two often trading joking insults with each other during live shows. During the summers of 1943 and 1944, he played at the Maxwell Street market in a band with Earl Hooker. By 1951 he was playing on the street with backing from Roosevelt Jackson on washtub bass and Jody Williams, whom he had taught to play the guitar. Williams later played lead guitar on "Who Do You Love?" (1956).
In 1951 he landed a regular spot at the 708 Club, on Chicago's South Side, with a repertoire influenced by Louis Jordan, John Lee Hooker, and Muddy Waters. 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 number one R&B hit.
Origins of stage name
The origin of the stage name Bo Diddley is unclear. McDaniel claimed that his peers gave him the name, which he suspected was an insult. He also said that the name first belonged to a singer his adoptive mother knew. Harmonicist Billy Boy Arnold said that it was a local comedian's name, which Leonard Chess adopted as McDaniel's stage name and the title of his first single. McDaniel also stated that it was his nickname as a Golden Gloves boxer.
A diddley bow is a homemade single-string instrument played mainly by farm workers in the South. It probably has influences from the West African coast. In the American slang term bo diddly, bo is an intensifier and diddly is a truncation of diddly squat, which means "absolutely nothing".
Success in the 1950s and 1960s
On November 20, 1955, Bo Diddley appeared on the popular television program The Ed Sullivan Show. When someone on the show's staff overheard him casually singing "Sixteen Tons" in the dressing room, he was asked to perform the song on the show. Seeing "Bo Diddley" on the cue card, he thought he was to perform both his self-titled hit single and "Sixteen Tons". Sullivan was furious and banned Bo Diddley from his show, reputedly saying that he wouldn't last six months. Chess Records included Bo Diddley's "Sixteen Tons" on the 1960 album Bo Diddley Is a Gunslinger.
Bo Diddley's hit singles continued in the 1950s and 1960s: "Pretty Thing" (1956), "Say Man" (1959), and "You Can't Judge a Book by the Cover" (1962). He also released numerous albums, including Bo Diddley Is a Gunslinger and Have Guitar, Will Travel. These bolstered his self-invented legend. Between 1958 and 1963, Checker Records released eleven full-length Bo Diddley albums. In the 1960s he broke through as a crossover artist with white audiences (appearing at the Alan Freed concerts, for example), but he rarely aimed his compositions at teenagers. The album title Surfing with Bo Diddley derived from his influence on surf guitarists rather than surfing per se.
In 1963, Bo Diddley starred in a UK concert tour with the Everly Brothers and Little Richard. The up-and-coming Rolling Stones were billed as a supporting act.
He wrote many songs for himself and also for others. In 1956 he and guitarist Jody Williams co-wrote the pop song "Love Is Strange", a hit for Mickey & Sylvia in 1957. He also wrote "Mama (Can I Go Out)", which was a minor hit for the pioneering rockabilly singer Jo Ann Campbell, who performed the song in the 1959 rock and roll film Go Johnny Go.
Bo Diddley included women in his band: Norma-Jean Wofford, also known as The Duchess; Gloria Jolivet; Peggy Jones, also known as Lady Bo, a lead guitarist (rare for a woman at that time); and Cornelia Redmond, also known as Cookie V. After moving from Chicago to Washington, D.C., he set up one of the first home recording studios in the basement of 2614 Rhode Island, NE, where he not only recorded the album Bo Diddley Is a Gunslinger, with backing vocals by Moonglows' founder Harvey Fuqua, but he produced and recorded his valet, Marvin Gaye. Diddley co-wrote and recorded the first single to feature Gaye with the song "Wyatt Earp" by the Marquees. After initially shopping the song to Phil and Leonard Chess, the Chess brothers turned it down. Diddley took the song to rival record company Okeh Records, who released the song. Gaye later joined Harvey Fuqua and the Moonglows and followed Fuqua to Motown.
Later years
Over the decades, Bo Diddley's performing 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 concert album series, Dick's Picks. Also in the early 1970s, the soundtrack of the ground-breaking animated film Fritz the Cat contained his song "Bo Diddley", in which a crow idly finger-pops to the track.
After the California Earthquake on February 9, 1971, Diddley moved to Los Lunas, New Mexico. While continuing his musical career, he served for two and a half years as a deputy sheriff in the Valencia County Citizens' Patrol; during that time he purchased and donated three highway-patrol pursuit cars. In 1978, he left Los Lunas and moved to Hawthorne, Florida, where he lived on a large estate in a custom-made log cabin, which he helped to build. For the remainder of his life he divided his time between Albuquerque, New Mexico and Florida, living the last 13 years of his life in Archer, Florida, a small farming town near Gainesville.
In the early 1970s, Diddley began to nurture the musical ability exhibited by his daughters Tammi Deane "Tammi Diddley" McDaniel (drums) and Terri Lynn "BoDetta" McDaniel (keyboards), and by the mid 1970s, he and his wife Kay, began booking the girls, as "The Diddley Darlings". By 1981, with the additions of Scott "Skyntyte" Free (guitar and vocals) and Ron Haughbrook (bass and vocals), The Diddley Darlings renamed themselves "Offspring" and began recording songs for the album "Ain't it good to be free". Released on Diddley's own BoKay Records label, Bo Diddley & Offspring performed shows in support around the U.S., including a two-month tour of Europe and several performances behind the "iron curtain" in what was East Germany.
In 1979, he appeared as an opening act for the Clash on their US tour and in Legends of Guitar (filmed live in Spain, 1991), with B.B. King, Les Paul, Albert Collins, and George Benson, among others. He joined the Rolling Stones on their 1994 concert broadcast of Voodoo Lounge, performing "Who Do You Love?".
By the mid 70s, Diddley could no longer afford to maintain a full-time band, and was forced to adopt the use of a "pick-up band". Beginning in the early 80s, Diddley had a non-exclusive agreement with booking agency Talent Consultants International. Agency president Margo Lewis decided that a permanent line-up of musicians would ensure Diddley would have a cohesive sound and enlisted The Jim Satten Band, led by guitarist Jim Satten, as back-up to Diddley. After Satten left, and at the urging of Lewis, bassist Debby Hastings, assumed the position of band leader and the decision to change the name to "the Debby Hastings Band" was made without Diddley's involvement. The Debby Hastings Band also utilized the talents of Nunzio Signore, Scott "Skyntyte" Free or Frank Daley (guitar); Tom Major, Dave Johnson, Yoshi Shimada, Mike Fink or Sandy Gennaro (drums); John Margolis, Dave Keys or personal manager Margo Lewis (keyboards); and Debby Hastings (bassist).
In 1987, Diddley partnered with former Bo Diddley & Offspring guitarist Scott "Skyntyte" Free to form Bad Dad Productions. Placing a focus on home recording, the duo recorded hundreds of recordings, and in the process, produced several of Diddley's albums including "Living Legend" for New Rose Records of France, and both "Breakin' through the B.S.", and "This should not be" for Los Angeles based Triple X Records. In 1992, Diddley performed "This should not be" live, on the NBC Today Show with Stone Phillips.
At the insistence of Diddley, he returned to the use of playing with a non-permanent line-up, and in 2005 and 2006, Diddley performed a number of shows around the country with fellow Rock and Roll Hall of Famer Johnnie Johnson and his band, consisting of Johnson on keyboards, Richard Hunt on drums and Gus Thornton on bass.
In 2006, he participated as the headliner of a grassroots-organized fundraiser concert to benefit the town of Ocean Springs, Mississippi, which had been devastated by Hurricane Katrina. The "Florida Keys for Katrina Relief" had originally been set for October 23, 2005, when Hurricane Wilma barreled through the Florida Keys on October 24, causing flooding and economic mayhem. In January 2006, the Florida Keys had recovered enough to host the fundraising concert to benefit the more hard-hit community of Ocean Springs. When asked about the fundraiser, Bo Diddley stated, "This is the United States of America. We believe in helping one another". In an interview with Holger Petersen, on Saturday Night Blues on CBC Radio in the fall of 2006, He commented on racism in the music industry establishment during his early career, which deprived him of royalties from the most successful part of his career.
His final guitar performance on a studio album was with the New York Dolls on their 2006 album One Day It Will Please Us to Remember Even This. He contributed guitar work to the song "Seventeen", which was included as a bonus track on the limited-edition version of the disc.
In 1989, Diddley entered into a licensing agreement with the sportswear brand Nike. The Wieden & Kennedy produced commercial in the "Bo Knows" campaign, teamed Diddley with dual sportsman Bo Jackson, and resulted in one of the most iconic advertisements in advertising history. The agreement ended in 1991, but in 1999, a T-shirt of Diddley's image and "You don't know diddley" slogan was purchased in a Gainesville, Florida sports apparel store. Diddley felt that Nike should not continue to use the slogan or his likeness, and fought Nike over the copyright infringement. Despite the fact that lawyers for both parties could not come to a renewed legal arrangement, Nike allegedly continued marketing the apparel and ignored cease-and-desist orders, and a lawsuit was filed on Diddley's behalf, in Manhattan Federal Court.
On May 13, 2007, Bo Diddley was admitted to intensive care in Creighton University Medical Center in Omaha, Nebraska, following a stroke after a concert the previous day in Council Bluffs, Iowa. Starting the show, he had complained that he did not feel well. He referred to smoke from the wildfires that were ravaging south Georgia and blowing south to the area near his home in Archer, Florida. Nonetheless, he delivered an energetic performance to an enthusiastic crowd. The next day, as he was heading back home, he seemed dazed and confused at the airport. 911 and airport security were called, and he was immediately taken by ambulance to Creighton University Medical Center and admitted to the Intensive-care unit, where he stayed for several days. After tests, it was confirmed that he had suffered a stroke. Bo Diddley had a history of hypertension and diabetes, and the stroke affected the left side of his brain, causing receptive and expressive aphasia (speech impairment). The stroke was followed by a heart attack, which he suffered in Gainesville, Florida, on August 28, 2007.
While recovering from the stroke and heart attack, Bo Diddley came back to his home town of McComb, Mississippi, in early November 2007, for the unveiling of a plaque devoted to him on the Mississippi Blues Trail. This marked his achievements and noted that he was "acclaimed as a founder of rock-and-roll." He was not supposed to perform, but as he listened to the music of local musician Jesse Robinson, who sang a song written for this occasion, Robinson sensed that Bo Diddley wanted to perform and handed him a microphone, the only time that he performed publicly after his stroke.
Death
Bo Diddley died on June 2, 2008, of heart failure at his home in Archer, Florida. Garry Mitchell, his grandson 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 the deathbed. "The song was 'Walk Around Heaven' and in his last words he said 'I'm going to heaven.'"
His funeral, a four-hour "homegoing" service, took place on June 7, 2008, at Showers of Blessings Church in Gainesville, Florida, and kept in tune with the vibrant spirit of Bo Diddley's life and career. The many in attendance chanted "Hey Bo Diddley" as a gospel band played the legend's music. A number of notable musicians sent flowers, including George Thorogood, Tom Petty and Jerry Lee Lewis. Little Richard, who had been asking his audiences to pray for Bo Diddley throughout his illness, had to fulfil concert commitments in Westbury and New York City the weekend of the funeral. He took time at both concerts to remember his friend of a half-century, performing Bo's namesake tune in his honor.
After the funeral service, a tribute concert was held at the Martin Luther King Center in Gainesville, Florida and featured guest performances by his son and daughter, Ellas McDaniel Jr. and Evelyn "Tan" Cooper; long-time background vocalist Gloria Jolivet; former Offspring guitarist and long-time friend and coproducer of "Bo Diddley put the rock in rock'n'roll," Scott "Skyntyte" Free and Eric Burdon. In the days following his death, tributes were paid by then-President George W. Bush, the United States House of Representatives, and many musicians and performers, including B. B. King, Ronnie Hawkins, Mick Jagger, Ronnie Wood, George Thorogood, Eric Clapton, Tom Petty, Robert Plant, Elvis Costello, Bonnie Raitt, Robert Randolph and the Family Band and Eric Burdon. Burdon used video footage of the McDaniel family and friends in mourning for a video promoting his ABKCO Records release "Bo Diddley Special".
He was posthumously awarded a Doctor of Fine Arts degree by the University of Florida for his influence on American popular music. In its People in America radio series, about influential people in American history, the Voice of America radio service paid tribute to him, describing how "his influence was so widespread that it is hard to imagine what rock and roll would have sounded like without him." Mick Jagger stated that "he was a wonderful, original musician who was an enormous force in music and was a big influence on the Rolling Stones. He was very generous to us in our early years and we learned a lot from him". Jagger also praised the late star as a one-of-a-kind musician, adding, "We will never see his like again". The documentary film Cheat You Fair: The Story of Maxwell Street by director Phil Ranstrom features Bo Diddley's last on-camera interview.
In November 2009, the guitar used by Bo Diddley in his final stage performance sold for $60,000 at auction.
All twenty-two beneficiaries of his estate sought a forensic accounting of his estate, but were denied without explanation. The current value is unknown to the heirs.
Accolades
Bo Diddley achieved numerous accolades in recognition of his significant role as one of the founding fathers of rock and roll.
1986: Inducted into the Washington Area Music Association's Hall of Fame.
1987: Inducted into the Rock and Roll Hall of Fame and the Rockabilly Hall of Fame.
1990: Lifetime Achievement Award from Guitar Player magazine.
1998: Lifetime Achievement Awards from the Rhythm and Blues Foundation and the National Academy of Recording Arts and Sciences.
1999: His 1955 recording of his song "Bo Diddley" inducted into the Grammy Hall of Fame as a recording of lasting qualitative or historical significance.
2000: Inducted into the Mississippi Musicians Hall of Fame and the North Florida Music Association's Hall of Fame.
2002: Pioneer in Entertainment Award from the National Association of Black Owned Broadcasters
2002: Honored as one of the first BMI Icons at the 50th annual BMI Pop Awards, along with BMI affiliates Chuck Berry and Little Richard.
2008: Honorary Doctor of Fine Arts degree posthumously conferred on Diddley by the University of Florida in August (the award had been confirmed before his death in June).
2009: Announcement of his induction into the Florida Artists Hall of Fame (induction to occur during Florida Heritage Month, March 2010).
2010: Induction into the Hit Parade Hall of Fame.
In 2003, U.S. Representative John Conyers paid tribute to Bo Diddley in the United States House of Representatives. describing him as "one of the true pioneers of rock and roll, who has influenced generations".
In 2004, Mickey and Sylvia's 1956 recording of "Love Is Strange" (a song first recorded by Bo Diddley but not released until a year before his death) was inducted into the Grammy Hall of Fame as a recording of qualitative or historical significance. Also in 2004, Bo Diddley was inducted into the Blues Foundation's Blues Hall of Fame and was ranked number 20 on Rolling Stone magazine's list of the 100 Greatest Artists of All Time.
In 2005, Bo Diddley celebrated his 50th anniversary in music with successful tours of Australia and Europe and with coast-to-coast shows across North America. He performed his song "Bo Diddley" with Eric Clapton and Robbie Robertson at the Rock and Roll Hall of Fame's 20th annual induction ceremony. In the UK, Uncut magazine included his 1957 debut album, Bo Diddley, in its listing of the '100 Music, Movie & TV Moments That Have Changed the World'.
Bo Diddley was honored by the Mississippi Blues Commission with a Mississippi Blues Trail historic marker placed in McComb, his birthplace, in recognition of his enormous contribution to the development of the blues in Mississippi. On June 5, 2009, the city of Gainesville, Florida, officially renamed and dedicated its downtown plaza the Bo Diddley Community Plaza. The plaza was the site of a benefit concert at which Bo Diddley performed to raise awareness about the plight of the homeless in Alachua County and to raise money for local charities, including the Red Cross.
Beat
The "Bo Diddley beat" is essentially the clave rhythm, one of the most common bell patterns found in sub-Saharan African music traditions. One scholar found this rhythm in 13 rhythm and blues recordings made in the years 1944–55, including two by Johnny Otis from 1948.
Bo Diddley gave different accounts of how he began to use this rhythm. Sublette asserts, "In the context of the time, and especially those maracas [heard on the record], 'Bo Diddley' has to be understood as a Latin-tinged record. A rejected cut recorded at the same session was titled only 'Rhumba' on the track sheets." The Bo Diddley beat is 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 the "shave and a haircut, two bits" rhythm, Diddley came across it while trying to play Gene Autry's "(I've Got Spurs That) Jingle, Jangle, Jingle". Three years before his "Bo Diddley", a song with similar syncopation "Hambone", was cut by the Red Saunders Orchestra with the Hambone Kids. In 1944, "Rum and Coca Cola", containing the Bo Diddley beat, was recorded by the Andrews Sisters. Buddy Holly's "Not Fade Away" (1957) and Them's "Mystic Eyes" (1965) used the beat.
Many 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 various rhythms, from straight back beat to pop ballad style to doo-wop, frequently with maracas by Jerome Green.
An influential guitar player, Bo Diddley developed many special effects and other innovations in tone and attack. His trademark instrument was his self-designed, one-of-a-kind, rectangular-bodied "Twang Machine" (referred to as "cigar-box shaped" by music promoter Dick Clark) built by Gretsch. He had other uniquely shaped guitars custom-made for him by other manufacturers throughout the years, most notably the "Cadillac" and the rectangular "Turbo 5-speed" (with built-in envelope filter, flanger and delay) designs made by Tom Holmes (who also made guitars for ZZ Top's Billy Gibbons, among others). In a 2005 interview on JJJ radio in Australia, he implied that the rectangular 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 twelve-bar blues.
He often created lyrics as witty and humorous adaptations of folk music themes. The song "Bo Diddley" was based on the African-American clapping rhyme "Hambone" (which in turn was based on the lullaby "Hush Little Baby"). Likewise, "Hey Bo Diddley" is based on the song "Old MacDonald". The song "Who Do You Love?" with its rap-style boasting, and his use of the African-American game known as "the dozens" on the songs "Say Man" and "Say Man, Back Again," are cited as progenitors of hip-hop music (for example, "You got the nerve to call somebody ugly. Why, you so ugly, the stork that brought you into the world ought to be arrested").
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Bo Diddley, Architect of Rock, Dies
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2008-06-02T00:00:00
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Rock and roll pioneer Bo Diddley died today at the age of 79. He created a guitar sound that helped turn rhythm and blues into rock. Farai Chideya reflects on the life of one of rock's founding fathers.
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https://www.wunc.org/2008-06-02/bo-diddley-architect-of-rock-dies
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Rock and roll pioneer Bo Diddley died today at the age of 79.
Diddley created a guitar sound that helped turn rhythm and blues into rock. He died today of heart failure at his home in Archer, Florida.
Farai Chideya reflects on the life of one of rock's founding fathers.
Copyright 2023 NPR. To see more, visit https://www.npr.org.
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https://www.chuckberry.us/bodiddley.html
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Chuck Berry News
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BO DIDDLEY DIES JUNE 2
MIAMI (Reuters) - Rock'n'roll pioneer Bo Diddley died on Monday at the age
of 79. Diddley died of heart failure at his home in Archer, Florida, his
management agency, Talent Consultants International, said in a statement.
"One of the founding fathers of rock'n'roll has left the building he helped
construct", the statement said.
Diddley suffered a stroke during a concert in Iowa in May 2007 and was
hospitalized in Omaha, Nebraska. In August 2007 he had a heart attack in
Florida.
Garry Mitchell, a grandson of Diddley and one of more than 35 family members
at the musician's home when he died at about 1:45 a.m. EDT (0545 GMT), said
his death was not unexpected.
"There was a gospel song that was sang and 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 stated that he
was going to heaven.
Read more
* * * * * * * * * * * * * * * * * * * * * * * * * * *
Funeral service details
Details on services for late singer, songwriter and guitarist Bo Diddley
have been announced by his representatives.
A private wake for family and invited friends will be held June 6 at the
Showers of Blessing Harvest Center in Gainesville, Florida, with a public
viewing from 1-2 pm and the funeral service from 2-5 pm at the same location
on June 7. Willie King, pastor.
A memorial service featuring a musical tribute from Diddley's touring band,
the Debby Hastings Band, and guest musicians will be held immediately following
the funeral service at Gainesville's Martin Luther King Center.
The burial service, which is scheduled for June 8, is also a private event.
Fans who wish to send flowers are instructed to contact Prange's Florist at
352-335-0100.
Donations can also be made in lieu of flowers to: The Bo Diddley Charitable
Foundation, c/o Ronald Stevens, Esq, 280 East Hathaway Avenue, Bronson,
Florida, 32621.
* * * * * * * * * * * * * * * * * * * * * * * * * * *
Bo Diddley interview 1 * * Bo Diddley interview 2
Bo Diddley interview 3
Bo Diddley hospitalized May 12, 2007
Bo Diddley has been hospitalized after suffering a stroke. A press release
from his publicist says the singer and songwriter showed signs of disorien-
tation after a show at Horseshoe Casino, Council Bluffs, Iowa, Saturday,
May 12, 2007. He was immediate taken to Creighton University Medical Center
in Omaha, Nebraska.
Medical updates will be made as the situation warrants. Press inquires can
be made to Susan Clary at Big Monkey PR, scbigmonkey@earthlink.net
(323) 653-4987.
Fans are asked not to contact the hospital but may send well wishes to
postmaster@tciartists.com or TCI (Talent Consultants International, Ltd.)
105 Shad Row, 2nd Floor, Piermont, NY 10968.
Source: David Blakey
Site home * * More Bo Diddley * * Bo Diddley Site
Diddley's 2007 European tour postponed
June 02 - Market Harborough, England - Leisure Centre
June 03 - Cardiff, Wales - Coal Exchange
June 05 - Southampton, England - The Brook
June 06 - London, England - Jazz Cafe
June 07 - London, England - Jazz Cafe
June 09 - Liverpool, England - Cavern Club
June 10 - Leeds, England - Rio's
June 12 - Wolverhampton, England - Robin Hood 2
June 13 - Newcastle, England - Carling Academy
June 14 - Glasgow, Scotland - The Ferry
June 16 - Frome, England - Cheese & Grain
June 17 - Newquay, England - The Barracuda
Recent updates 2008
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https://www.newworldencyclopedia.org/entry/Bo_Diddley
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New World Encyclopedia
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https://www.newworldencyclopedia.org/entry/Bo_Diddley
|
Bo Diddley (December 30, 1928 – June 2, 2008), born Ellas Otha Bates, was an influential American rock and roll singer, songwriter, and guitarist. Often cited as a key figure in the transition from blues to rock and roll, he introduced insistent, driving rhythms and a hard-edged guitar sound. Known for his music's powerful, rumba-like beat, he was also famous for his characteristic rectangular guitar and wild stage antics.
Mississippi-born, Diddley started playing the guitar after hearing bluesman John Lee Hooker in Chicago. He began playing on street corners and then performed regularly at a South Side Chicago club. Influenced by Hooker, Muddy Waters, and band leader Louis Jordan, he recorded "Bo Diddley" and its flip side, the Waters-inspired I'm A Man" at Chess Records. The record became a number-one hit on the R & B charts and crossed over to the pop audience as well.
In the 1950s and 1960, Diddley became a musical force with albums like Bo Diddley Is a Gunslinger and Have Guitar, Will Travel. Numerous artists incorporated his trademark rhythm guitar hook, including Elvis Presley, Buddy Holly, the Rolling Stones, and many later stars. In his later years, Diddley continued to perform, conducting a world tour in 2005 to celebrate 50 years in music. He was inducted into the Rock and Roll Hall of Fame in 1987.
Early life and career
Born Ellas Otha Bates[1] in McComb, Mississippi, Bo Diddley was adopted and raised by his mother's cousin, Gussie McDaniel, whose surname he adopted, becoming Ellas McDaniel. The family moved to Chicago when he was seven. He took violin lessons as a youth, but was inspired to become a guitarist after seeing John Lee Hooker perform.
He worked as a carpenter and mechanic, but also began a musical career playing on street corners with friends as a band called the Hipsters (later the Langley Avenue Jive Cats). In 1951, he landed a regular spot at the 708 Club on Chicago's South Side, with a repertoire influenced by John Lee Hooker, Muddy Waters, and band leader Louis Jordan. He adopted the stage name "Bo Diddley," a nickname linked to several southern slang expressions, including the diddley bow, a primitive one- or two-stringed fretless instrument that was used in the south by black musicians.
In late 1954, he teamed up with harmonica player Billy Boy Arnold, drummer Clifton James, and bass player Roosevelt Jackson to record demos of “I'm A Man" and "Bo Diddley" with a backing ensemble comprised by Otis Spann (piano), Lester Davenport (harmonica), Frank Kirkland (drums), and Jerome Green (maracas). They then re-recorded the songs at Chess Studios. The record was released in March of 1955, the a-side, "Bo Diddley," becoming an R&B number-one hit.
The Bo Diddley beat and guitar
Bo Diddley is best known for the "Bo Diddley beat," a driving, rumba-like beat. Although the beat conjures feelings of Africa and the Caribbean, Diddley reportedly invented it while trying to play Gene Autry's "(I've Got Spurs That) Jingle, Jangle, Jingle." The beat is also thought to be related to the tradition of "hambone," in which persons slap their own knees, thighs, and torso to create a drum effect. Three years before the release of "Bo Diddley," a song that closely resembles it, "Hambone," was cut by Red Saunders' Orchestra with The Hambone Kids. Diddley and his band, however, achieved a powerful, almost overwhelming rhythmic tradition that is unmistakably his own creation.
Diddley's songs (for example, "Hey Bo Diddley" and "Who Do You Love?") often have no chord changes. In these cases, the musicians play the same chord throughout the piece, so that excitement is created by the rhythm, rather than by harmonic tension and release. In his recordings, Diddley used a variety of rhythms, from straight back beat to pop ballad style, frequently with maracas by Jerome Green.
He was also an influential guitar player who invented many special effects and other innovations in tone and attack. Diddley's trademark instrument was the rectangular-bodied Gretsch guitar, nicknamed "The Twang Machine," a guitar that he developed himself around 1958 and wielded in thousands of concerts over the years. He later had other similar-shaped guitars custom-made for him by other manufacturers. He also played the violin, which is featured on his mournful instrumental "The Clock Strikes Twelve," a 12-bar blues.
Diddley's lyrics were often witty and humorous adaptations of folk music themes. The song "Bo Diddley" was based on the lullaby "Hush Little Baby." Likewise, "Hey Bo Diddley" is based on the folk song "Old Macdonald." The rap-style boasting of "Who Do You Love," a wordplay on "hoodoo," used many striking lyrics from the African-American tradition of toasts and boasts. His "Say Man" and "Say Man, Back Again" both share a strong connection to the insult game known as "the dozens." For example: "You got the nerve to call somebody ugly! Why you so ugly the stork that brought you into the world ought to be arrested!!!"
Success in the 1950s and 1960s
On November 20, 1955, Diddley appeared on The Ed Sullivan Show. He was reportedly asked to sing Tennessee Ernie Ford's hit "Sixteen Tons," but when he appeared on stage, he sang "Bo Diddley." This infuriated Sullivan. "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." He was banned from further appearances on the show.
Diddley had several additional hits through the late 1950s and the 1960s, including "Pretty Thing" (1956), "Say Man" (1959), and "You Can't Judge a Book By the Cover" (1962). He released a string of albums whose titles—including Bo Diddley Is a Gunslinger and Have Guitar, Will Travel—that bolstered his self-invented legend. Between 1958 and 1963, Checker Records released 11 full-length albums by Bo Diddley. Diddley was a breakthrough crossover artist with white audiences, appearing on the Alan Freed concerts and popular television shows. However, he rarely tailored his compositions or performances to teenage concerns. His live shows—unlike those of Chuck Berry, for example—were oriented toward adult black night clubs until his later career of playing oldies shows.
The Bo Diddley beat was used by many other artists in the 1950s and 1960s, notably Buddy Holly ("Not Fade Away"); Johnny Otis ("Willie and the Hand Jive"); Elvis Presley ("His Latest Flame"); Wayne Fontana & The Mindbenders ("The Game of Love"); Jefferson Airplane ("She Has Funny Cars"); George Michael ("Faith"); and others. The early The Rolling Stones sound featured several uses of the Bo-Diddley beat on songs such as "Not Fade Away" and "I Need You Baby (Mona)." Buddy Holly's own cover version of "Bo Diddley" provided him with a top-ten posthumous hit in the UK in 1963.
Didley's own songs were frequently covered. The Animals and Bob Seger both recorded "The Story of Bo Diddley." The Who and The Yardbirds covered "I'm a Man"; while Diddley's "Road Runner" was also frequently covered, including by The Who in concert. Both Eric Clapton and Creedence Clearwater Revival covered "Before You Accuse Me." Velvet Underground drummer Maureen Tucker counts Diddley as one of her chief influences and covered "Bo Diddley" on her solo album Life in Exile After Abdication.
In 1963, Diddley starred in a UK concert tour with the Everly Brothers and Little Richard. The Rolling Stones, still unknown at the time, were listed much lower on the same bill. Over the decades, his performances have ranged from sweaty Chicago clubs to rock-and-roll oldies tours. He appeared as an opening act for The Clash and as a guest of the Rolling Stones. On March 28, 1972, he played with Grateful Dead at the Academy of Music in New York City. This concert was released for the Grateful Dead's Dick's Picks live album series as Volume 30.
In addition to the many songs identified with him, he wrote the pioneering pop song "Love Is Strange" under a pseudonym for Mickey and Sylvia.
Bo Diddley was one of the first American musicians to have women in his band, including Peggy Jones (aka Lady Bo, b.1940), Norma-Jean Wofford (aka The Duchess, c.1942-2005), and Cornelia Redmond (aka Cookie). He also set up one of the first home recording studios.
The later years
Bo Diddley spent many years in New Mexico, not only as a musician, but also as a law officer, perhaps fulfilling the legendary declaration "Bo Diddley is a Gunslinger." He lived in Los Lunas from 1971 to 1978 while continuing his musical career and 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 2005, Bo Diddley celebrated his fiftieth anniversary in music with successful tours of Australia and Europe, and with coast-to-coast shows across North America. He performed his song "Bo Diddley" with Eric Clapton and Robbie Robertson at the Rock and Roll Hall of Fame's twentieth annual induction ceremony and in the UK, Uncut magazine included his 1958 debut album "Bo Diddley" in its listing of the "100 Music, Movie & TV Moments That Have Changed The World."
In 2006, Diddley participated as the headliner of a grass-roots organized fund raiser concert, to benefit the town of Ocean Springs, Mississippi, which was devastated by Hurricane Katrina.
Later, he resided in Archer, Florida, a small farming town near Gainesville, Florida, where he attended a born-again Christian church with some of his children, grandchildren, and great-grandchildren.
Diddley died on June 2, 2008, at the age of 79 of heart failure at his home in Archer. Garry Mitchell, a grandson of the singer and one of more than 35 family members at the musician's home when he died, said his death was not unexpected. Mitchell reported that Diddley gave the thumbs up sign as the gospel song "Walk Around Heaven" was played at his deathbed and that his last words were that he was soon going to heaven himself.[2]
Legacy
In his later years, Bo Diddley received numerous accolades in recognition of his role as one of the founding fathers of rock and roll. In 1987 he was inducted into the Rock and Roll Hall of Fame. His pioneering contribution to rockabilly through artists such as Buddy Holly and Elvis Presley has been recognized by the Rockabilly Hall of Fame. In 1996, he received a Lifetime Achievement Award from the Rhythm and Blues Foundation. The following year saw his 1955 recording of his song "Bo Diddley" inducted into the Grammy Hall of Fame as a recording of lasting qualitative or historical significance. He received a Grammy Lifetime Achievement Award in 1998. In 2002, he received a Pioneer in Entertainment Award from the National Association of Black Owned Broadcasters and a Broadcast Music Incorporated (BMI) Icon Award.
In 2004, Mickey and Sylvia's 1956 recording of his song, "Love Is Strange," was inducted into the Grammy Hall of Fame, and he was inducted into the Blues Foundation's Blues Hall of Fame as well. In 2004, Rolling Stone ranked him #20 on their list of 100 Greatest Artists of All Time.
Bo Diddley's greatest legacy, however, is the driving beat he contributed to the rock genre, which will likely continue to be used and developed for generations to come.
Discography (albums)
Bo Diddley (1958)
Go Bo Diddley (1959)
Have Guitar Will Travel (1960)
Bo Diddley in the Spotlight (1960)
Bo Diddley Is a Gunslinger (1960) (Checker 2977) Album Cover
Bo Diddley Is a Lover (1961)
Bo Diddley's a Twister (1962)
Bo Diddley (1962)
Bo Diddley & Company (1962)
Surfin' with Bo Diddley (1963)
Bo Diddley's Beach Party (1963)
Bo Diddley's 16 All-Time Greatest Hits (1964)
Two Great Guitars (with Chuck Berry) (1964)
Hey Good Lookin' (1965)
500% More Man (1965)
The Originator (1966)
Super Blues (with Muddy Waters & Little Walter) (1967)
Super Super Blues Band (with Muddy Waters & Howlin' Wolf) (1967)
The Black Gladiator (1970)
Another Dimension (1971)
Where It All Began (1972)
Got My Own Bag of Tricks (1972)
The London Bo Diddley Sessions (1973)
Big Bad Bo (1974)
20th Anniversary of Rock & Roll (1976)
I'm a Man (1977)
Ain't It Good To Be Free (1983)
Bo Diddley & Co - Live (1985)
Hey...Bo Diddley in Concert (1986)
Breakin' Through the BS (1989)
Living Legend (1989)
Rare & Well Done (1991)
Live at the Ritz (with Ronnie Wood) (1992)
This Should Not Be (1993)
Promises (1994)
A Man Amongst Men (1996)
Moochas Gracias (with Anna Moo) (2002)
Dick's Picks #30 (1972 5-song Live Session with The Grateful Dead) (2003)
Notes
References
ISBN links support NWE through referral fees
George-Warren, Holly, and Laura Levine. Shake, Rattle, & Roll: The Founders of Rock and Roll. Boston: Houghton Mifflin, 2001. ISBN 978-0618055401
Holt, Sid. The Rolling Stone Interviews: The 1980s. New York: St. Martin's Press/Rolling Stone Press, 1989. ISBN 978-0312029746
Traum, Artie, and Arti Funaro. The Legends of Rock Guitar. New York: Oak Publications, 1986. ISBN 978-0711910218
White, George R. Bo Diddley, Living Legend. Chessington, Surrey, England: Castle Communications, 1995. ISBN 978-1860741302
All links retrieved November 16, 2023.
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Florida Probate Law Group Secures Legacy of Rock and Roll Pioneer
|
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2020-02-06T17:12:12-05:00
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Bo Diddley was an American music icon that inspired the likes of the Beatles and the Rolling Stones. While Bo’s original sound left an indelible mark on — February 6, 2020
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Florida Probate Blog
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https://www.floridaprobatelawgroup.com/blog/what-i-learned-from-the-bo-diddley-trust-litigation/
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Bo Diddley was an American music icon that inspired the likes of the Beatles and the Rolling Stones. While Bo’s original sound left an indelible mark on contemporary music, he struggled to find mainstream recognition for his contributions during his lifetime, sometimes feeling victimized by the 1950’s record companies that embraced his style but repackaged it for white audiences. Rolling Stone has written about Bo being copied by the King himself, and the Smithsonian proclaims that “Bo Diddley’s beat changed the course of rock music.”
His pioneering sound led Bo to become the first black artist featured on the Ed Sullivan Show in 1955, where he defied executives and played an original song instead of the cover song they had slated for him.
Bo was never invited back to the Ed Sullivan show but continued to rule the stage until suffering a stroke in 2007. Bo passed away in 2008 at the age of 79 leaving a big family and even bigger legacy. While not always recognized as an originator of rock music, his heavy influence on the genre is undeniable. What Bo may lack in name recognition he more than made up for in boldness and originality.
Legacy Soured
Unfortunately for Bo’s many children and grandchildren, his amazing legacy has been soured by alleged mishandling and misappropriation Bo’s of estate and intellectual property since his 2008 death. The family alleges that Bo (known to the government as Ellas McDaniel) was manipulated to execute an estate plan that would unconscionably benefit the managers that handled Bo’s business affairs.
Bo Diddley’s 2006 will, which the family claims he lacked the capacity to execute, granted his talent agents a 30% cut of all revenue ever produced from his intellectual property after his passing. This lifetime royalty share was not contingent upon further work promoting intellectual property or limited to royalties that Bo’s managers helped bring in. The attorney who wrote the will was empowered as trustee over Bo’s intellectual property and given the lifetime power to choose all future successor trustees.
In 2018, ten years after Bo’s death, eighteen members of Bo’s family retained our law firm to seek the removal of the trustee controlling Bo Diddley’s song rights and the managers that were enjoying the music royalties. My first meeting with the family was overwhelming. There were many voices and most of them were very angry.
The trustee empowered by Bo’s controversial will had managed the trust for years without accountings or records. The family was in the dark regarding their patriarch’s estate and felt powerless, employing multiple law firms but getting nowhere. The original trustee quit before ever accounting for trust assets and hand-picked a successor who eventually issued accountings to the family. In 2016, the family received their first accounting and was dumbstruck by the professional service fees that consumed music royalties that they felt entitled to. As we sat around a large conference table pouring over documents all I could ask myself was; “how did this happen?”
An Ounce of Prevention
The answer to that question was that Bo did not get good advice during his lifetime and his family did not get good advice in the wake of his death. We were talking about a multi-million dollar estate of a well known celebrity, and there was no part of the estate plan, estate administration, or trust administration that had been performed ethically and competently. The family was adamant that Bo did not know what he signed when he executed his 2006 will and never intended to put his managers and their lawyer in such a powerful and profitable position. However, that ship had sailed years ago when the estate went through probate, and we were now looking at an uphill battle of protracted trust litigation to regain control of Bo’s assets for his family.
The lesson that I took from this is that the addage “an ounce of prevention is worth a pound of cure” is an understatement. If Bo or his family would have consulted with an objective expert about his estate plan prior to his death, this entire mess could have been avoided. Similar to cancer caught early during a screening, the influence of Bo’s management team on his estate plan could have been nipped in the bud by simply executing a new will and trust that did not revolve around their interests. If he was indeed incapacitated in 2006 an incapacity guardianship proceeding could have determined that and empowered a family member or neutral third party to protect his interests. There were many crossroads where good advice could have made a big difference, but with each year that had passed the problem had become more intractable.
The subsequent waste and arising litigation has cost the trust millions of dollars between legal fees and lost promotional opportunities, and resulted in untold heartache and frustration for Bo’s heirs. While the story ultimately has a happy ending (see part 2), 10 years of costly legal struggles arose from a failure to seek qualified, unbiased advice on an important decision. Our firm takes this lesson to heart when advising our clients regarding their cases.
When handling probate, guardianship, or estate planning matters for our clients we ensure that things are done the right way. Law firms all over the state trust Florida Probate Law Group to handle high stakes estate administration related to litigated wrongful death claims. Our experience working on complex probate matters allows us to avoid common pitfalls and get predictable results. We prevent mistakes that could jeopardize case outcomes by ensuring that settlements are compliant with the probate code and efficiently securing the court orders that litigators need. In representing consumer clients we bring the same diligence and thoroughness to bear in achieving their goals.
If you have questions about your probate, guardianship, or estate planning matter, learn from Bo’s mistake and get an objective opinion to prevent problems down the road. We are always here to help. Call anytime at (352) 354-2654.
|
||||
correct_death_00084
|
FactBench
|
0
| 86
|
https://www.npr.org/2008/06/02/91078064/bo-diddley-architect-of-rock-dies
|
en
|
Bo Diddley, Architect of Rock, Dies
|
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2008-06-02T00:00:00
|
Rock and roll pioneer Bo Diddley died today at the age of 79. He created a guitar sound that helped turn rhythm and blues into rock. Farai Chideya reflects on the life of one of rock's founding fathers.
|
en
|
NPR
|
https://www.npr.org/2008/06/02/91078064/bo-diddley-architect-of-rock-dies
|
Rock and roll pioneer Bo Diddley died today at the age of 79.
Diddley created a guitar sound that helped turn rhythm and blues into rock. He died today of heart failure at his home in Archer, Florida.
Farai Chideya reflects on the life of one of rock's founding fathers.
|
|||||
correct_death_00084
|
FactBench
|
0
| 69
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https://www.dailynews.com/20080603/rocker-bo-diddley-who-inspired-other-greats-is-dead-at-79/
|
en
|
Rocker Bo Diddley, who inspired other greats, is dead at 79
|
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2008-06-03T00:00:00+00:00
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JACKSONVILLE, Fla. – Bo Diddley, a founding father of rock ‘n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79. Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. […]
|
en
|
Daily News
|
https://www.dailynews.com/20080603/rocker-bo-diddley-who-inspired-other-greats-is-dead-at-79/
|
JACKSONVILLE, Fla. – Bo Diddley, a founding father of rock ‘n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation.
The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood’s Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton.
Diddley appreciated the honors he received, “but it didn’t put no figures in my checkbook. If you ain’t got no money, ain’t nobody calls you honey,” he quipped.
The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview.
“I don’t know where the kids got it, but the kids in grammar school gave me that name,” he said, adding that he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow.
His first single, “Bo Diddley,” introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as “shave and a haircut, two bits.” The B side, “I’m a Man,” with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars.
Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley’s Chess recordings “stand among the best singular recordings of the 20th century.”
Diddley’s other major songs included, “Say Man,” “You Can’t Judge a Book by Its Cover,” “Shave and a Haircut,” “Uncle John,” “Who Do You Love?” and “The Mule.”
Diddley’s influence was felt on both sides of the Atlantic.
Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song “Not Fade Away.”
The Rolling Stones’ bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of “I’m a Man.”
Many other artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley’s style.
Growing up, Diddley said he had no musical idols, and he wasn’t entirely pleased that others drew on his innovations.
“I don’t like to copy anybody. Everybody tries to do what I do, update it,” he said. “I don’t have any idols I copied after.”
“They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there,” he said.
Despite his success, Diddley claimed he only received a small portion of the money he made during his career.
Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida.
Diddley, like other artists of his generations, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances.
“I am owed. I’ve never got paid,” he said. “A dude with a pencil is worse than a cat with a machine gun.”
Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother’s cousin and took on the name Ellis McDaniel, which his wife always called him.
When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners.
By his early teens, Diddley was playing Chicago’s Maxwell Street.
“I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don’t have the same impact that I had,” he said.
|
|||||
correct_death_00084
|
FactBench
|
0
| 87
|
https://www.sgvtribune.com/2008/06/02/rock-pioneer-bo-diddley-dead-at-79-2/
|
en
|
Rock pioneer Bo Diddley dead at 79
|
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2008-06-02T00:00:00
|
RELATED LINKS: » Bo Diddley’s discography » The best of Bo Diddley Video: Bo Diddley in action JACKSONVILLE, Fla. – Bo Diddley, a founding father of rock `n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He […]
|
en
|
San Gabriel Valley Tribune
|
https://www.sgvtribune.com/general-news/20080602/rock-pioneer-bo-diddley-dead-at-79/
|
» The best of Bo Diddley
JACKSONVILLE, Fla. – Bo Diddley, a founding father of rock `n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation.
The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood’s Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton.
Diddley appreciated the honors he received, “but it didn’t put no figures in my checkbook.”
“If you ain’t got no money, ain’t nobody calls you honey,” he quipped.
The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview.
“I don’t know where the kids got it, but the kids in grammar school gave me that name,” he said, adding that he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow.
His first single, “Bo Diddley,” introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as “shave and a haircut, two bits.” The B side, “I’m a Man,” with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars.
Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley’s Chess recordings “stand among the best singular recordings of the 20th century.”
Diddley’s other major songs included, “Say Man,” “You Can’t Judge a Book by Its Cover,” “Shave and a Haircut,” “Uncle John,” “Who Do You Love?” and “The Mule.”
Diddley’s influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song “Not Fade Away.”
The Rolling Stones’ bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of “I’m a Man.”
Diddley was also one of the pioneers of the electric guitar, adding reverb and tremelo effects. He even rigged some of his guitars himself.
“He treats it like it was a drum, very rhythmic,” E. Michael Harrington, professor of music theory and composition at Belmont University in Nashville, Tenn., said in 2006.
Many other artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley’s style.
Growing up, Diddley said he had no musical idols, and he wasn’t entirely pleased that others drew on his innovations.
“I don’t like to copy anybody. Everybody tries to do what I do, update it,” he said. “I don’t have any idols I copied after.”
“They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there,” he said.
Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida.
“Seventy ain’t nothing but a damn number,” he told The Associated Press in 1999. “I’m writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain’t quit yet.”
Diddley, like other artists of his generations, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances.
“I am owed. I’ve never got paid,” he said. “A dude with a pencil is worse than a cat with a machine gun.”
In the early 1950s, Diddley said, disc jockeys called his type of music, “Jungle Music.” It was Cleveland disc jockey Alan Freed who is credited with inventing the term “rock `n’ roll.”
Diddley said Freed was talking about him, when he introduced him, saying, “Here is a man with an original sound, who is going to rock and roll you right out of your seat.”
Diddley won attention from a new generation in 1989 when he took part in the “Bo Knows” ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson’s guitar skills, Diddley turned to the camera and said, “He don’t know Diddley.”
“I never could figure out what it had to do with shoes, but it worked,” Diddley said. “I got into a lot of new front rooms on the tube.”
Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother’s cousin and took on the name Ellis McDaniel, which his wife always called him.
When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners.
By his early teens, Diddley was playing Chicago’s Maxwell Street.
“I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don’t have the same impact that I had,” he said.
|
|||||
correct_death_00084
|
FactBench
|
0
| 68
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https://forum.warwickforum.com/threads/rip-bo-diddley.5648/
|
en
|
RIP BO Diddley
|
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2008-06-03T01:56:11+00:00
|
Pioneering rhythm and blues guitarist and songwriter Bo Diddley died after having battled for months with problems with his heart, his agent told US media...
|
en
|
Warwick Forum
|
https://forum.warwickforum.com/threads/rip-bo-diddley.5648/
|
Pioneering rhythm and blues guitarist and songwriter Bo Diddley died after having battled for months with problems with his heart, his agent told US media. He was 79.
Diddley was hospitalized last year after a heart attack and later had a stent implanted to improve blood flow to his heart.
He had also suffered a series of seizures and had been recovering at his home in Archer, southern Florida, when he died, Rolling Stone magazine reported, citing a spokesperson.
Known as "The Originator" of rock and roll, Diddley is cited as a key transitional figure of blues into rock and a pioneer of the rock guitar style who influenced such other greats as Elvis Presley, the Rolling Stones and Jimi Hendrix.
His dark glasses and signature box-shaped guitars became icons in the music industry after he topped the rhythm and blues charts in 1955 with "Bo Diddley."
Some of his all-time hits include Who Do You Love, Before You Accuse Me, Mona and I'm a Man.
He was born December 30, 1928 in McComb, Mississippi. His name was Otha Ella Bates, which he later changed to Ellas McDaniel Diddley.
He was inducted into the Rock and Roll Hall of Fame in 1987 and received a Grammy Lifetime Achievement Award.
Blues=Truth
Truth=Soul
My biz partner actually got to back up Bo in the late 80's/early 90's. Bo would tour without a band, and he'd just hire some local guys to play wherever he had the next gig lined up.
After the show, Danny asked Bo to sign the back of his black strat. Lacking anything that would show up on the black paint, Danny handed Bo a screwdriver and said "Scratch away". Bo asked "Are you serious?". Danny said "Sure", and Bo signed his guitar with a screwdriver!! Danny still has that guitar and a picture of himself play it at that show. Priceless.
I joined the band that played that gig several years later. That's a big regret for me that I didn't have the chance to play that show...
He leaves an awesome, awesome legacy that I hope is not forgotten. He'll not be remember for virtuosity, not for fame for fame's sake... just for primal, guttural rhythm & blues & rock 'n roll. RIP.
|
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correct_death_00084
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FactBench
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2
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https://mamoruohtake.com/recommend.html
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MAMORU OHTAKE
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[
""
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[] | null |
https://mamoruohtake.com/recommend.html
| |||||||||
correct_death_00084
|
FactBench
|
1
| 73
|
https://www.wefunkradio.com/song/play/295_al/bo%2Bdiddley/i%2Bdon%2527t%2Blike%2Byou
|
en
|
"I Don't Like You" by Bo Diddley
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https://cache.wefunkradio.com/overlay/playbutton/wefunklogo
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https://cache.wefunkradio.com/overlay/playbutton/wefunklogo
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[
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[] |
[] |
[
"hip hop",
"hiphop",
"rap",
"music",
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[] | null |
“I Don't Like You” by Bo Diddley | Enjoy the finest hip hop, funk & soul at WEFUNK
|
https://cache.wefunkradio.com/images-small/favicon.ico
|
WEFUNK Radio
|
https://www.wefunkradio.com/song/play/295_al/bo+diddley/i+don%27t+like+you
| ||||
correct_death_00084
|
FactBench
|
3
| 85
|
https://theweek.com/articles/514579/bo-diddley
|
en
|
Bo Diddley
|
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[] |
[] |
[
""
] | null |
[
"The Week Staff"
] |
2008-06-05T11:52:00+00:00
|
The wicked guitarist who was a rock-
|
en
|
theweek
|
https://theweek.com/articles/514579/bo-diddley
|
1928–2008
In 1964, when the Beatles were asked at their first U.S. press conference what they most looked forward to seeing in the States, John Lennon replied, “Bo Diddley!” Diddley, who died this week of heart failure, was a blues guitarist who helped create rock ’n’ roll. With Chuck Berry and Little Richard, he infused early rock with the sounds of Southern gospel, R&B, and black patois, creating a daring and sexually charged musical genre that heavily influenced artists as diverse as the Rolling Stones, Jimi Hendrix, and the Clash.
“Diddley began life as an accident,” said Rolling Stone. “His mother, who was 15 or so, had gotten pregnant by a local boy whom he would never know.” Born Ellas Otha Bates in McComb, Miss., he sang in church and began playing guitar at 12. He eventually drifted north to Chicago, where he was soon “busking in the streets” with a group he called the Hipsters. “There are at least a dozen stories about where his name came from—from the one-stringed folk instrument the diddley bow, from a local performer, from street slang for a bully.” What’s certain is that after years in local clubs, Diddley broke through in 1955 by riffing off the old lullaby “Hush Little Baby” and adding hip new lyrics: “Bo Diddley bought his babe a diamond ring / If that diamond ring don’t shine / He gonna take it to a private eye.” The song, with his name as its title, went to No. 2 on the Billboard chart.
With tunes such as “Mona,” “Who Do You Love,” and “Say Man,” Diddley became a legend, said The New York Times. There were several keys to his musical magic. One was his signature “syncopated beat—bomp ba-bomp bomp, bomp bomp”—which may have derived from “the drumbeats of the Yoruba and Kongo cultures” and turned up in such tunes as Buddy Holly’s “Not Fade Away” and Johnny Otis’ “Willie and the Hand Jive.” Another ingredient was Diddley’s technique. His big fingers made moving around the fret board difficult, so he emphasized reverb, distortion, and “bubbling tremolo.” And then there was his presence. “His smile was wicked. He hopped and strutted and shimmied on stage, playing his guitar between his legs, over his head, with his teeth.”
For decades, Diddley played to appreciative audiences and parlayed his hat-wearing, bluesy persona into a featured role in the 1983 film Trading Places, said the Chicago Tribune. He also performed at the inaugurals of Bill Clinton and George H.W. Bush, received an honorary lifetime Grammy Award, and was inducted into the Rock and Roll Hall of Fame. But his later years were laced with bitterness over artists who got credit for his style, especially Elvis Presley: “He copied me, with his legs moving and all that.” Worse, like many black singers of the 1950s, Diddley never got royalties; he once estimated that record companies owed him as much as $10 million. “You go out and buy Bo Diddley’s greatest hits, and I don’t get one dime from it,” he said. “It’s a good old rip-off.”
Diddley had been in poor health following a stroke he suffered during a concert last year. Married four times, he is survived by four children, 15 grandchildren, 15 great-grandchildren, and three great-great-grandchildren.
|
|||||
correct_death_00084
|
FactBench
|
0
| 29
|
https://www.facebook.com/thehydrantrockabilly/videos/on-this-date-in-2008-american-guitarist-and-singer-bo-diddley-died-of-heart-fail/466499445871538/
|
en
|
On this date in 2008, American guitarist and singer Bo Diddley died of heart failure at his home in Archer, Florida, aged 79. The legendary singer and...
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
On this date in 2008, American guitarist and singer Bo Diddley died of heart failure at his home in Archer, Florida, aged 79. The legendary singer and...
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/thehydrantrockabilly/videos/on-this-date-in-2008-american-guitarist-and-singer-bo-diddley-died-of-heart-fail/466499445871538/
| ||||||
correct_death_00084
|
FactBench
|
3
| 9
|
https://www.thisdayinmusic.com/stairway-to-heaven/bo-diddley/
|
en
|
Bo Diddley
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[
""
] | null |
[
"This Day In Music"
] |
2008-06-02T08:59:23+00:00
|
I’ve always liked an artist who can sing about themselves. The Stray Cats had “The Stray Cat Strut”, Mott The Hoople had “The Ballad Of Mott The Hoople”, Bob Dylan sang about “Bob Dylan’s 115th
|
en
|
This Day In Music
|
https://www.thisdayinmusic.com/stairway-to-heaven/bo-diddley/
|
I’ve always liked an artist who can sing about themselves. The Stray Cats had “The Stray Cat Strut”, Mott The Hoople had “The Ballad Of Mott The Hoople”, Bob Dylan sang about “Bob Dylan’s 115th Dream”. And Bo Diddley shouted “Hey! Bo Diddley”.
Mick Jagger stated: “His influence was so widespread that it is hard to imagine what rock and roll would have sounded like without him. “He was a wonderful, original musician who was an enormous force in music and was a big influence on The Rolling Stones”.
Tom Petty, Buddy Holly, The Stones, The Clash, The Kinks, The Animals, The New York Dolls and even those old hippies Grateful Dead have all covered songs by Ellas Otha Bates, while he was a seminal influence on the young Syd Barrett, co-founder of Pink Floyd.
Yes, I’m talking about Bo Diddley, “The Originator”, (as he was also known), who died of heart failure on 2 June 2008 aged 79. He played a key role in the transition from the blues to rock & roll, influencing a host of acts and even made a visual statement – his guitar shaped like a cigar box, (nicknamed “The Twang Machine”) became a style icon.
The unusual guitar design sprang from an embarrassing moment: after jumping around on stage with a Gibson L5 guitar, Bo 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.
Born in 1928, he was adopted and raised by his mother’s cousin, Gussie McDaniel, whose surname he assumed, becoming Ellas McDaniel. Bo was inspired musically after seeing John Lee Hooker and developed a career playing on Chicago street corners with friends in a band called The Hipsters.
McDaniel would adopt the stage name “Bo Diddley”. The origin of the name is somewhat unclear, as several differing stories and claims exist. Some sources state that it was his nickname as a teenage Golden Gloves boxer, while others claim that it originates from the one-stringed instrument called the diddley bow. Bo Diddley himself has said that the name first belonged to a singer his adoptive mother was familiar with.
In late 1954, he recorded demos of “I’m A Man” and “Bo Diddley”. They re-recorded the songs at Chess Studios. The record was released in March 1955, and the A-side, “Bo Diddley”, became a number 1 R&B hit and we all heard what became the “Bo Diddley beat,” also known in the US as ‘shave and haircut, 2 bits’.
He was one of the first American male musicians to include women in his band, including Norma-Jean Wofford (aka “The Duchess,” 1942-2005), Peggy Jones, Cornelia Redmond and Debby Hastings, who led his band for the final 25 years of his performing career.
Bo Diddley died 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, said: “There was a gospel song that was sung (at his bedside) and when it was done, Bo said ‘wow’ with a thumbs up, and in his last words he said ‘I’m going to heaven.'”
On June 5, 2009, the city of Gainesville, Florida, officially renamed and dedicated its downtown plaza the “Bo Diddley Community Plaza.”
|
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correct_death_00084
|
FactBench
|
3
| 93
|
https://www.metrotimes.com/music/bo-diddley-1928-2008-2293633
|
en
|
BO DIDDLEY 1928 - 2008
|
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"Music"
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[
"Bill Holdship"
] |
2008-06-02T13:09:12
|
Sorry to report the death earlier this morning of the legendary Bo Diddley, one of the founders of rock 'n' roll and one of its...
|
en
|
/favicon.ico
|
Detroit Metro Times
|
https://www.metrotimes.com/music/bo-diddley-1928-2008-2293633
|
Sorry to report the death earlier this morning of the legendary Bo Diddley, one of the founders of rock 'n' roll and one of its most important musical forces and architects. His influence is awe-inspiring and can be heard in everything from Buddy Holly's "Not Fade Away" (covered by the Rolling Stones -- who also covered Diddley's "Mona" -- the Grateful Dead, Patti Smith and hundreds of others) to Bruce Springsteen's "She's The One" to Tom Petty' s "American Girl" to the Smiths' "How Soon Is Now"...and way, way beyond. Where would the New York Dolls have been without their perfect cover of Bo Diddley's "Pills"? And David Bowie's "Panic In Detroit" was almost nothing but the Bo Diddley beat...
The dude played numerous gigs in Detroit, including a Concert of Colors concert at Chene Park in 2000. I saw him at Pine Knob -- on a bill with Sam Moore (of Sam & Dave), Al Wilson, Harold Melvin & the Blue Notes and James Brown back in the mid-'80s...and if it wasn't for the always show-stopping Mr. Brown, Diddley's hilarious X-rated set may have run away with the show.
His influence was felt on many successful local musicians as well -- not just old-timers like the MC5 and the Stooges (the Bo Diddley beat runs throughout Iggy's entire career) but he was mentioned in major features about more recent artist in the Metro Times during the last several months:
[Dirtbombs leader Mick Collins'] first rock concert? Bo Diddley at the Michigan State Fair in 1972.
"When I saw Bo Diddley — I have never heard an amplifier before, or since, make those sounds," he remembers. "I was only 7, but I never forgot it. In fact, in later years, I began to think that maybe watching him make those sounds is what inspired me to play guitar in the long run." -- Mick Collins to Michael Hurtt in MT
"We have two guitar players now and that really fills out the sound and adds another dimension to it, especially since my main influences include Bo Diddley, the Kinks, Blue Cheer, the Gories, Screaming Jay Hawkins.." -- Amy Gore to Brett Calwood in MT
RIP, Mr. Diddley. A full official obit -- written by my old pal Gene Sculatti -- runs immediately below:
One of the founding fathers of rock ’n’ roll has left the building he helped construct. Bo Diddley, aged 79, died of heart failure today at his home in Archer, Fl where he resided for over 20 years.
With Chuck Berry, Little Richard, Elvis Presley, Fats Domino and Jerry Lee Lewis, Diddley (born Ellas Otha Bates) was one of music’s principal architects in the mid-1950s. The guitarist-singer-songwriter scored major pop hits with “Bo Diddley” and “I’m a Man” in 1955 and “Say Man” (1959) and made an almost incalculable impact on rock from the '50s onward. His music influenced artists working in such disparate styles as rockabilly, British Invasion pop, surf, psychedelic, hip-hop and punk rock.
Diddley is most often cited for his signature “Bo Diddley beat,” a syncopated 5/4 pattern similar to the West African-derived “hambone” rhythm or “Shave and a haircut two-bits” couplet. Over the years, Diddley variously claimed to have adapted the beat from music he heard in church, from trying to play the Gene Autry song “Jingle Jangle” and from attempting to play his guitar like a drum. Whatever its origins, the taut, rumba-like beat has powered literally hundreds of rock and pop records, everything from Buddy Holly’s “Not Fade Away” and the Who’s “Magic Bus” to Tom Petty’s “American Girl,” George Michael’s “Faith” and Bruce Springsteen’s “She’s the One.” A half dozen key Diddley compositions have held down prized spots in the repertoire of thousands of performing artists for decades.
One of Diddley’s first hits was the rock ballad “Love Is Strange,” recorded by New York duo Mickey & Sylvia in 1957 and immortalized in the 1987 film Dirty Dancing. Equally as durable are the classics “I’m a Man” and “Who Do You Love.” The former, a boasting blues in the mode of Willie Dixon’s “(I’m Your) Hoochie Coochie Man,” has been covered by, among others, Jimi Hendrix, the Who, the Yardbirds, Iggy & the Stooges and British garage-punk icons the Pretty Things (who took their name from another Bo Diddley tune), while the latter has found its way onto albums by the Band, the Doors, Bob Seger, Patti Smith and George Thorogood. Mojo magazine credited Quicksilver Messenger Service’s 1969 album Happy Trails with “defining acid-rock” by “taking two simple Bo Diddley songs—‘Who Do You Love’ and ‘Mona’—and stretching them into every possible permutation.”
Diddley’s music, particularly hard-driving numbers like “Who Do You Love,” “Roadrunner” and “You Can’t Judge a Book by Its Cover,” provided the foundation for the blues wing of the 1964-65 British Invasion. Diddley was frequently cited as a hero by Mick Jagger and others, and his songs were cut by the Rolling Stones, Kinks, Manfred Mann and the Nashville Teens. In the Animals’ song “Story of Bo Diddley,” Eric Burdon describes the young Newcastle combo’s first meeting with their hero, who, when asked his opinion of their music, answers, “Man, that sure is the biggest load of rubbish I ever heard in my life!” Indeed, the case could be made that Diddley’s attitude—proud and defiant, but always laced with sly humor—was as much a draw for young rockers as his sturdy guitar riffs were. Elements of this aspect of his style, articulated as far back as 1959’s “Say Man,” in which Diddley traded insults with maracas player Jerome Green, can be found in the braggadocio and “ranking” of latter-day hip-hop artists as well. Indeed, some pop observers have credited “Say Man” as the first rap record.
Diddley’s influence also extended to soul music (his last charting single was the Top-20 R&B hit “Ooh Baby”), '70s punk-rock (he toured internationally with the Clash in 1979), teen pop (he wrote 1959’s “Mama, Can I Go Out Tonight” for Jo-Ann Campbell) and even surf music (tremolo-laden instrumentals like 1961’s “Aztec” predated the form’s exotic ballad side).
Bo Diddley was born Ellas Otha Bates, Dec. 30, 1928, in McComb, Mississippi. He was raised by his mother’s cousin, Gussie McDaniel, with whom he moved to Chicago at the age of seven and whose surname he took, becoming Ellas McDaniel. Sources differ on where the stage name Bo Diddley originated, but McDaniel was using it professionally by 1954, when he recorded “I’m a Man” and his namesake song at Chess Records’ studios. Issued as a single, “Bo Diddley” topped Billboard’s R&B Singles chart in 1955 (its flipside, “I’m a Man,” charted for 11 weeks in its own right) and was followed by Top-20 hits “Diddley Daddy,” “Pretty Thing,” “I’m Sorry,” “Crackin’ Up” and “Say Man.”
He cut 11 albums for Chess between 1958 and 1963, a number of which are now highly collectable. In ’63 he co-headlined a U.K. tour with the Everly Brothers; opening the bill were the as-yet-unheralded Rolling Stones. “Watching Bo Diddley was university for me,” Keith Richards recently told Rolling Stone, referring to that tour. “Every set was 20 minutes long. When he came off, if he had two strings left on his guitar it was a fuckin’ miracle.”
Diddley’s last recording was the 1997 Grammy nominated LP, A Man Amongst Men (Code Blue/Atlantic). He was inducted into the Rock ’N’ Roll Hall of Fame in 1986 and received a Grammy Lifetime Achievement Award in 1998. His music was ever present—on the soundtracks to movies like Boys Don’t Cry, The Color of Money, Dirty Dancing and La Bamba, on television (The Cosby Show, Sesame Street), in a 1989 series of Nike ads, in which Diddley appeared with football/baseball star Bo Jackson. In 1997, Diddley performed at the second inauguration of President Bill Clinton. The following year his “Bo Diddley” was inducted into the National Academy of Recording Arts & Sciences Hall of Fame as a recording of lasting historical significance by the Recording Academy at the 40th annual Grammy Awards ceremony.
Diddley’s music and presence has been little absent in the new millennium. Diddley rang the Opening Bell at the American Stock Exchange in New York in a ceremony held in his honor, and starred (with Jerry Lewis, Darlene Love and others) in the PBS special Rock & Roll at 50. His “Roadrunner” was used in a series of commercials for Chase Bank, and Paul McCartney’s recording of “Love Is Strange” was featured in the UK documentary Wingspan. More recently, Diddley joined with ZZ Top’s Billy Gibbons in developing the Billy-Bo Jupiter Thunderbird guitar for Gretsch, a model whose form and function Gibbons described as “very nasty pieces of pure rock ’n’ roll.” The guitar, together with his instantly recognizable cigar box shaped square guitar, is featured prominently in the soon to be released video game Rock Band 2.
Throughout his career, Diddley lent his support to a variety of national charities and non-profit organizations, including the Red Cross, Habitat for Humanity, Big Brothers and Big Sisters, as well as numerous local organizations in Florida and Illinois, including the Chicago Coalition for the Homeless, for whom he performed an annual fundraiser.
He had continued performing well into 2007, until he suffered a stroke in May 2007 in Council Bluffs, Iowa followed by a heart attack in August. Diddley is survived by his children, Evelyn Kelly, Ellas A. McDaniel, Tammi D. McDaniel and Terri Lynn McDaniel, as well as 15 grandchildren, 15 great-grandchildren and three great-great-grandchildren.
|
||||
correct_death_00084
|
FactBench
|
0
| 91
|
https://www.galesburg.com/story/entertainment/local/2008/06/02/rock-pioneer-bo-diddley-dies/45438817007/
|
en
|
Rock pioneer Bo Diddley dies at age 79
|
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[
"Staff , Galesburg Register Mail"
] |
2008-06-02T00:00:00
|
Bo Diddley, a founding father of rock ‘n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died today after months of i…
|
en
|
Galesburg Register-Mail
|
https://www.galesburg.com/story/entertainment/local/2008/06/02/rock-pioneer-bo-diddley-dies/45438817007/
|
Bo Diddley, a founding father of rock ‘n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died today after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation.
The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood’s Walk of Fame and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years, he also played for the elder President Bush and President Clinton.
Diddley appreciated the honors he received, “but it didn’t put no figures in my checkbook.”
“If you ain’t got no money, ain’t nobody calls you honey,” he quipped.
The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview.
“I don’t know where the kids got it, but the kids in grammar school gave me that name,” he said, adding that he liked it, so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow.
His first single, “Bo Diddley,” introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as “shave and a haircut, two bits.” The B side, “I’m a Man,” with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based label that also recorded Chuck Berry and other stars.
Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley’s Chess recordings “stand among the best singular recordings of the 20th century.”
Diddley’s other major songs included, “Say Man,” “You Can’t Judge a Book by Its Cover,” “Shave and a Haircut,” “Uncle John,” “Who Do You Love?” and “The Mule.”
Diddley’s influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song “Not Fade Away.”
The Rolling Stones’ bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of “I’m a Man.”
Diddley was also one of the pioneers of the electric guitar, adding reverb and tremolo effects. He even rigged some of his guitars himself.
“He treats it like it was a drum, very rhythmic,” E. Michael Harrington, professor of music theory and composition at Belmont University in Nashville, Tenn., said in 2006.
Many other artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley’s style.
Growing up, Diddley said he had no musical idols, and he wasn’t entirely pleased that others drew on his innovations.
“I don’t like to copy anybody. Everybody tries to do what I do, update it,” he said. “I don’t have any idols I copied after.
“They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there,” he said.
Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida.
“Seventy ain’t nothing but a damn number,” he told The Associated Press in 1999. “I’m writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain’t quit yet.”
Diddley, like other artists of his generation, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances.
“I am owed. I’ve never got paid,” he said. “A dude with a pencil is worse than a cat with a machine gun.”
In the early 1950s, Diddley said, disc jockeys called his type of music “Jungle Music.” It was Cleveland disc jockey Alan Freed who is credited with inventing the term “rock ‘n’ roll.”
Diddley said Freed was talking about him, when he introduced him, saying, “Here is a man with an original sound, who is going to rock and roll you right out of your seat.”
Diddley won attention from a new generation in 1989 when he took part in the “Bo Knows” ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson’s guitar skills, Diddley turned to the camera and said, “He don’t know Diddley.”
“I never could figure out what it had to do with shoes, but it worked,” Diddley said. “I got into a lot of new front rooms on the tube.”
Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother’s cousin and took on the name Ellis McDaniel, which his wife always called him.
When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners.
By his early teens, Diddley was playing Chicago’s Maxwell Street.
“I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don’t have the same impact that I had,” he said.
|
|||||
correct_death_00084
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FactBench
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https://www.gainesville.com/picture-gallery/news/local/2008/06/08/bo-diddley-funeral/874037007/
|
en
|
Bo Diddley Funeral
|
[] |
[] |
[] |
[
""
] | null |
[
"Gainesville Sun Staff"
] |
2008-06-08T00:00:00
|
Bo Diddley Funeral
|
en
|
https://www.gainesville.com/picture-gallery/news/local/2008/06/08/bo-diddley-funeral/874037007/
| |||||||
correct_death_00084
|
FactBench
|
1
| 32
|
https://www.independent.co.uk/arts-entertainment/music/news/bo-diddley-guitarist-who-inspired-the-beatles-and-the-stones-dies-aged-79-838868.html
|
en
|
Bo Diddley, guitarist who inspired the Beatles and the Stones, dies aged 79
|
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[
"50's US Rock And Pop",
"Human Rights",
"The Beatles",
"The Blues",
"Internal"
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"Jonathan Brown"
] |
2008-06-02T23:00:01+00:00
|
Bo Diddley, the pioneering electric guitarist who was playing rock'n'roll when white America was still calling it jungle music and without whom there might never have been Elvis Presley, the Beatles or the Rolling Stones, has died at the age of 79.
|
en
|
/img/shortcut-icons/favicon.ico
|
The Independent
|
https://www.independent.co.uk/arts-entertainment/music/news/bo-diddley-guitarist-who-inspired-the-beatles-and-the-stones-dies-aged-79-838868.html
|
Bo Diddley, the pioneering electric guitarist who was playing rock'n'roll when white America was still calling it jungle music and without whom there might never have been Elvis Presley, the Beatles or the Rolling Stones, has died at the age of 79.
Famous for his square, homemade guitar, which he plucked with oversize fingers to a relentless syncopated beat, crudely summed up as "bomp ba-bomp bomp bomp bomp", Diddley was one of the giants of popular music.
He died of heart failure at his home in Archer, Florida, yesterday, having worked relentlessly, partly out of necessity partly out of love, almost until the end of his life. He suffered a stroke while touring in Iowa last year followed three months later by a heart attack. His spokeswoman said his ability to speak had been severely affected and he was ordered to rest and rehabilitate at his 76-acre property where he kept his recording studio.
Diddley was a contemporary of both Little Richard and Chuck Berry, though his refusal to compromise with TV executives and court white audiences, meant he never enjoyed their level of fame.
In 1955, Diddley became the first black artist to appear on The Ed Sullivan Show but was banned from further appearances after he defied Sullivan's instructions to sing a cover song and instead performed his own hit "Bo Diddley".
Diddley was inducted into the Rock and Roll Hall of Fame, had a star on Hollywood's Walk of Fame and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton.
He released his first and eponymous single in 1955 with "I'm a Man" on the B side. Other major songs included, "Say Man, Who Do You Love?" and "The Mule".
Diddley, real name Otha Ellas Bates, was born into a family of sharecroppers in McComb in south-western Mississippi, later to become one of the most violent fronts in America's civil rights battles. He never knew his mother and was raised by a cousin. The family swapped the hardship of rural America in the Depression for the equally hostile surroundings of Chicago, where at least the factories offered work. There on the South Side he swapped the violin for the guitar and first heard the music of Muddy Waters and the man who was to become his idol, John Lee Hooker.
Diddley recorded more than 20 albums on the Chess label until 1974 but was forced to sell the rights to his songs having, he claimed, rarely been paid for live performances. It was a decision he regretted. "I am owed. I've never got paid," he used to tell interviewers. "A dude with a pencil is worse than a cat with a machine gun."
In recent years he had harsh words for the direction black music had taken, saying that "gangsta" rap made his blood boil. "I hate it. I call it rap-crap," Diddley said in 1996. "I can't seem to get my records played but they'll play all this garbage."
He also had mixed feelings over the way he was treated by other artists. "It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there," he said.
Last night, the former Led Zeppelin frontman, Robert Plant, said Diddley's death was "a great loss". He added: "This royal shapeshifter continues to influence four generations of musicians." Mick Jagger called him "a wonderful, original musician who was an enormous force in music".
The man who influenced many
Bo Diddley's influence was felt on both sides of the Atlantic. Buddy Holly borrowed the "Bo Diddley beat" for "Not Fade Away", while the Rolling Stones' remake of the same song gave them their first chart single in the US in 1964. The following year, the Yardbirds made the top 20 in the US with their version of "I'm a Man". John Lennon (pictured), Bruce Springsteen, Elvis Costello and The Who were also influenced by the guitarist. Diddley once said of other performers: "I don't like to copy anybody. Everybody tries to do what I do, update it. I don't have any idols I copy. They copied everything I did, upgraded it, messed it up. It seems nobody can come up with their own thing, they have to put a little bit of Bo Diddley there."
|
||||
correct_death_00084
|
FactBench
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3
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https://www.organissimo.org/forum/topic/43754-rip-bo-diddley-79/
|
en
|
RIP: Bo Diddley, 79
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2008-06-02T16:20:53+00:00
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Rock pioneer Bo Diddley dies at age 79 AP A spokeswoman says rock pioneer Bo Diddley has died. He was 79. The spokeswoman says Diddley died of heart failure Monday. He had suffered a heart attack in August 2007, three months after suffering a stroke while touring in Iowa. Doctors said the stroke ...
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https://www.organissimo.org/forum/topic/43754-rip-bo-diddley-79/
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June 3, 2008
Bo Diddley, Rock ’n’ Roll Pioneer, Dies at 79
By BEN RATLIFF, NYTimes
Bo Diddley, a singer and guitarist who invented his own name, his own guitars, his own beat and, with a handful of other musical pioneers, rock ’n’ roll itself, died Monday at his home in Archer, Fla . He was 79.
The cause was heart failure, a spokeswoman, Susan Clary, said. Mr. Diddley had a heart attack last August, only months after suffering a stroke while touring in Iowa.In the 1950s, Mr. Diddley — along with Chuck Berry, Little Richard, Jerry Lee Lewis and a few others — helped reshape the sound of popular music worldwide, building it on the templates of blues, southern gospel and rhythm and blues. His original style of R&B influenced generations of musicians. And his Bo Diddley syncopated beat — three strokes/rest/two strokes — became a stock rhythm of rock ’n’ roll.
It can be found in Buddy Holly’s “Not Fade Away,” Johnny Otis’s “Willie and the Hand Jive,” Steppenwolf’s “Magic Carpet Ride,” The Who’s “Magic Bus,” Bruce Springsteen’s “She’s the One” and U2’s “Desire,” among hundreds of other songs.
Yet the rhythm was only one element of his best records. In songs like “Bo Diddley,” “Who Do You Love,” “Mona,” “Crackin’ Up,” “Say, Man,” “Ride On Josephine” and “Road Runner,” his booming voice was loaded up with echo and his guitar work came with distortion and a novel bubbling tremelo. The songs were knowing, wisecracking and full of slang, mother-wit and sexual cockiness. They were both playful and radical.
So were his live performances: trancelike ruckuses instigated by a large man with a strange-looking guitar. It was square, and he designed it himself, long before custom guitar shapes became commonplace in rock.
Mr. Diddley was a wild performer, jumping, lurching, balancing on his toes and shaking his knees as he wrangled with his instrument, sometimes playing it above his head. Elvis Presley, it has long been supposed, borrowed from Mr. Diddley’s stage moves; Jimi Hendrix, too.
Still, for all his fame, Mr. Diddley felt that his standing as a father of rock ’n’roll was never properly acknowledged. It frustrated him that he could never earn royalties from the songs of others who had borrowed his beat.
“I opened the door for a lot of people, and they just ran through and left me holding the knob,” he told The New York Times in 2003.
He was revered by those who had learned from him. He was a hero to the Rolling Stones and the Beatles, and a generation later he became a model of originality to post-punk bands like the Clash and the Fall.
In 1979, Joe Strummer and Paul Simonon of the Clash asked that Mr. Diddley open for them on the band’s first American tour. “I can’t look at him without my mouth falling open,” Mr. Strummer, starstruck, told a journalist during the tour.
For his part, Mr. Diddley had no misgivings about facing a skeptical audience. “You cannot say what people are gonna like or not gonna like,” he explained later to the biographer George R. White. “You have to stick it out there and find out! If they taste it, and they like the way it tastes, you can bet they’ll eat some of it!”
Mr. Diddley was born Otha Ellas Bates in McComb, Miss., a small city about 15 miles from the Louisiana border. He was reared primarily by his mother’s first cousin, Gussie McDaniel, who had three children of her own. After the death of her husband, Ms. McDaniel took the family to Chicago, where young Otha’s name was changed to Ellas B. McDaniel. Gussie McDaniel became his legal guardian and sent him to school.
He was 6 when the family resettled on Chicago’s South Side. He described his youth as one of school, church, trouble with street toughs and playing the violin for both band and orchestra, under the tutelage of Prof. O.W. Frederick, a prominent music teacher at Ebenezer Baptist Church. Gussie McDaniel taught Sunday school there. Ellas studied classical violin from the age of 7 to 15 and started on guitar at 12, when his sister gave him an acoustic model.
He then enrolled at Foster Vocational School, where he built a guitar as well as a violin and an upright bass. But he dropped out before graduating. Instead, with guitar in hand, he began performing in a duo with his friend Roosevelt Jackson, who played the washtub bass. The group became a trio when they added another guitarist, Joseph Leon (Jody) Williams, and later a quartet when they added a harmonica player, Billy Boy Arnold.
The band — first called the Hipsters, then the Langley Avenue Jive Cats — started playing at an open-air market on Maxwell Street. They were sometimes joined by another friend, Samuel Daniel, who was known as Sandman because of the shuffling rhythms he made with his feet in sand sprinkled on a wooden board.
Playing with the Jive Cats was not enough to make a living in the early days, so Mr. Diddley found jobs where he could: at a grocery store, a picture-frame factory, a blacktop company. He worked as an elevator operator and a meat packer. He was also boxing, hoping to turn professional.
In 1954, Mr. Diddley made a demonstration recording with his band, which now had Jerome Green on maracas, approximating Sandman’s swishing sound. Phil and Leonard Chess, of Chess records, liked the demo, especially the tremelo on the guitar, a sound that seem to slosh around like water. They saw it as a promising novelty and encouraged the group to return.
By Billy Boy Arnold’s account, the next day, as the band and their soon-to-be producers were setting up for a rehearsal, they were idly casting about for a stage name for Ellas McDaniel when Mr. Arnold thought of Bo Diddley. The name, Mr. Arnold said, described a “bow-legged guy, a comical-looking guy.”
That may be all there is to tell about the name, except for the fact that a certain one-string guitar — native to the Mississippi Delta, often home-made, in which a length of wire is stretched between two nails in a door — is called a Diddley Bow (sometimes spelled Diddlie Bow). By his account, however, Mr. Diddley had never played one.
In any case, Otha Ellas McDaniel had a new name and the title of a new song, whose lyrics began, “Bo Diddley bought his babe a diamond ring.” “Bo Diddley” became the A side of his first single, in 1955, on the Checker label, a subsidiary of Chess. It reached No. 2 on the Billboard chart.
Mr. Diddley said he had first heard the three-stroke/rest/two-stroke “Bo Diddley beat” in a church in Chicago. But variations of it were in the air. The children’s game “hambone” used a similar rhythm.
The beat is also related to the Afro-Cuban clave, which had been popularized at the time by the New Orleans mambo carnival song “Jockomo,” recorded by Sugar Boy Crawford in 1953.
Whatever the source, Mr. Diddley felt the beat’s power. In early songs like “Pretty Thing” and “Bo Diddley,” he arranged the rhythm for tom-toms, guitar, maracas and voice, with no cymbals and no bass. (Also arranged in his signature rhythm was the eerie “Mona,” a song of praise he wrote for a 45-year-old exotic dancer who worked at the Flame Show Bar in Detroit; this became the template for Holly’s “Not Fade Away.”)
Appearing on “The Ed Sullivan Show” in 1955, Mr. Diddley was asked to play Tennessee Ernie Ford’s “Sixteen Tons.” Without telling Mr. Sullivan, he played “Bo Diddley” instead. Afterward, in an off-camera confrontation, Mr. Sullivan told him that he would never work in television again. Mr. Diddley did not play again on a network show for 10 years.
For decades, Mr. Diddley was bitter about his relationship with the Chess family, whom he accused of withholding money owed to him. In her book “Spinning Blues into Gold,” Nadine Cohodas quoted Marshall Chess as saying, “What’s missing from Bo’s version of events is all the gimmes.” Mr. Diddley would borrow so heavily against projected royalties, Mr. Chess said, that not much was left over in the final accounting.
Mr. Diddley’s watery tremolo effect, from 1955 onward, came from one of the first effects boxes to be manufactured for guitars: the DeArmond Model 60 Tremelo Control. But Mr. Diddley contended that he had already built something similar himself, with automobile parts and an alarm-clock spring.
His first trademark guitar was also handmade: he took the neck and the circuitry off a Gretsch guitar and connected it to a square body he had built. In 1958, he asked Gretsch to make him a better one to the same specifications. Gretsch made it as a limited-edition guitar called “Big B.”
On songs like “Who Do You Love,” his guitar style — bright, chicken-scratch rhythm patterns on a few strings at a time — was an extension of his early violin playing, he said.
“My technique comes from bowing the violin, that fast wrist action,” he told George White, explaining that his fingers were too big to move around easily. Rather than fingering the fretboard, Mr. Diddley said, he tuned the guitar to an open E and moved a single finger up and down to create chords.
As his fame rose, his personal life grew complicated. His first marriage, at the age of 18, to Louise Woolingham, lasted less than a year. His second marriage, in 1949, to Ethel “Tootsie” Smith, unraveled in the late 1950s. He then moved from Chicago to Washington, settling in the Mount Pleasant district, where he built a studio in his home.
Separated from his wife, he was performing in Birmingham, Ala., when, backstage, he met a young door-to-door magazine saleswoman named Kay Reynolds, a fan, who was 15 and white. They moved in together in short order and were soon married, in spite of Southern taboos and laws against racial intermarriage. During the late 1950s, Mr. Diddley’s band featured a female guitarist, Peggy Jones (stage-named Lady Bo), at a time when there were scarcely any women in rock. She was replaced by Norma Jean Wofford, whom Mr. Diddley called the Duchess. He pretended she was his sister, he said, to be in a better position to protect her on the road. The early 1960s were low times. Chess, searching for a hit, had Mr. Diddley make albums to capitalize on the dance craze “the twist,” as Chubby Checker had done, and on the “surf” music of the Beach Boys. But soon a foreign market for his earlier music began to grow, thanks in large part to the Rolling Stones, a newly popular band that was regularly playing at least seven of his songs in their concerts. It paved the way for Mr. Diddley’s successful tour of England in 1963.
But he wasn’t willing to move to Europe, and in America the picture worsened for him: the Beatles, the Stones, Bob Dylan and the Byrds quickly made Bo Diddley sound quaint. When work all but dried up, he moved to New Mexico in the early 1970s and became a deputy sheriff in the town of Los Lunas. With his sound updated to resemble hard rock and soul, he continued to make albums for Chess until his contract with it expired in 1974. His recording career never picked up after that, despite flirtations with synthesizers, religious rock and hip-hop. But he continued apace as a performer and public figure, popping up in places both obvious, like rock ’n’ roll nostalgia revues, and not so obvious: a Nike advertisement, the film “Trading Places” with Eddie Murphy, the 1979 tour with the Clash, and two presidential inaugurals, George H. W. Bush’s and Bill Clinton’s.
Since the early ’80s, Mr. Diddley lived in Archer, Fla., near Gainesville, owning 76 acres and a recording studio. His passions were fishing and old cars, including a 1969 purple Cadillac hearse. In 1992, he married Sylia R. Paiz, who became his fourth wife.
Mr. Diddley’s survivors also include his children, Evelyn Kelly, Ellas A. McDaniel, Tammi D. McDaniel and Terri Lynn McDaniel, as well as 15 grandchildren, 15 great-grandchildren and three great-great-grandchildren.
Mr. Diddley attributed his longevity to abstinence from drugs and drinking, but in recent years he had suffered from diabetes. After a concert in Council Bluffs, Iowa, on May 13, Mr. Diddley had a stroke and was taken to Creighton University Medical Center in Omaha. Last Aug. 28, he suffered a heart attack in Gainesville and was hospitalized.
Mr. Diddley always believed that he and Chuck Berry had started rock ’n’ roll, and the fact that he couldn’t, financially, reap all that he had sowed made him a deeply suspicious man.
“I tell musicians, ‘Don’t trust nobody but your mama,’ ” he said in an interview with Rolling Stone magazine in 2005. “And even then, look at her real good.”
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RIP: Bo Diddley, 79
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2008-06-02T16:20:53+00:00
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Rock pioneer Bo Diddley dies at age 79 AP A spokeswoman says rock pioneer Bo Diddley has died. He was 79. The spokeswoman says Diddley died of heart failure Monday. He had suffered a heart attack in August 2007, three months after suffering a stroke while touring in Iowa. Doctors said the stroke ...
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organissimo forums
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https://www.organissimo.org/forum/topic/43754-rip-bo-diddley-79/
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June 3, 2008
Bo Diddley, Rock ’n’ Roll Pioneer, Dies at 79
By BEN RATLIFF, NYTimes
Bo Diddley, a singer and guitarist who invented his own name, his own guitars, his own beat and, with a handful of other musical pioneers, rock ’n’ roll itself, died Monday at his home in Archer, Fla . He was 79.
The cause was heart failure, a spokeswoman, Susan Clary, said. Mr. Diddley had a heart attack last August, only months after suffering a stroke while touring in Iowa.In the 1950s, Mr. Diddley — along with Chuck Berry, Little Richard, Jerry Lee Lewis and a few others — helped reshape the sound of popular music worldwide, building it on the templates of blues, southern gospel and rhythm and blues. His original style of R&B influenced generations of musicians. And his Bo Diddley syncopated beat — three strokes/rest/two strokes — became a stock rhythm of rock ’n’ roll.
It can be found in Buddy Holly’s “Not Fade Away,” Johnny Otis’s “Willie and the Hand Jive,” Steppenwolf’s “Magic Carpet Ride,” The Who’s “Magic Bus,” Bruce Springsteen’s “She’s the One” and U2’s “Desire,” among hundreds of other songs.
Yet the rhythm was only one element of his best records. In songs like “Bo Diddley,” “Who Do You Love,” “Mona,” “Crackin’ Up,” “Say, Man,” “Ride On Josephine” and “Road Runner,” his booming voice was loaded up with echo and his guitar work came with distortion and a novel bubbling tremelo. The songs were knowing, wisecracking and full of slang, mother-wit and sexual cockiness. They were both playful and radical.
So were his live performances: trancelike ruckuses instigated by a large man with a strange-looking guitar. It was square, and he designed it himself, long before custom guitar shapes became commonplace in rock.
Mr. Diddley was a wild performer, jumping, lurching, balancing on his toes and shaking his knees as he wrangled with his instrument, sometimes playing it above his head. Elvis Presley, it has long been supposed, borrowed from Mr. Diddley’s stage moves; Jimi Hendrix, too.
Still, for all his fame, Mr. Diddley felt that his standing as a father of rock ’n’roll was never properly acknowledged. It frustrated him that he could never earn royalties from the songs of others who had borrowed his beat.
“I opened the door for a lot of people, and they just ran through and left me holding the knob,” he told The New York Times in 2003.
He was revered by those who had learned from him. He was a hero to the Rolling Stones and the Beatles, and a generation later he became a model of originality to post-punk bands like the Clash and the Fall.
In 1979, Joe Strummer and Paul Simonon of the Clash asked that Mr. Diddley open for them on the band’s first American tour. “I can’t look at him without my mouth falling open,” Mr. Strummer, starstruck, told a journalist during the tour.
For his part, Mr. Diddley had no misgivings about facing a skeptical audience. “You cannot say what people are gonna like or not gonna like,” he explained later to the biographer George R. White. “You have to stick it out there and find out! If they taste it, and they like the way it tastes, you can bet they’ll eat some of it!”
Mr. Diddley was born Otha Ellas Bates in McComb, Miss., a small city about 15 miles from the Louisiana border. He was reared primarily by his mother’s first cousin, Gussie McDaniel, who had three children of her own. After the death of her husband, Ms. McDaniel took the family to Chicago, where young Otha’s name was changed to Ellas B. McDaniel. Gussie McDaniel became his legal guardian and sent him to school.
He was 6 when the family resettled on Chicago’s South Side. He described his youth as one of school, church, trouble with street toughs and playing the violin for both band and orchestra, under the tutelage of Prof. O.W. Frederick, a prominent music teacher at Ebenezer Baptist Church. Gussie McDaniel taught Sunday school there. Ellas studied classical violin from the age of 7 to 15 and started on guitar at 12, when his sister gave him an acoustic model.
He then enrolled at Foster Vocational School, where he built a guitar as well as a violin and an upright bass. But he dropped out before graduating. Instead, with guitar in hand, he began performing in a duo with his friend Roosevelt Jackson, who played the washtub bass. The group became a trio when they added another guitarist, Joseph Leon (Jody) Williams, and later a quartet when they added a harmonica player, Billy Boy Arnold.
The band — first called the Hipsters, then the Langley Avenue Jive Cats — started playing at an open-air market on Maxwell Street. They were sometimes joined by another friend, Samuel Daniel, who was known as Sandman because of the shuffling rhythms he made with his feet in sand sprinkled on a wooden board.
Playing with the Jive Cats was not enough to make a living in the early days, so Mr. Diddley found jobs where he could: at a grocery store, a picture-frame factory, a blacktop company. He worked as an elevator operator and a meat packer. He was also boxing, hoping to turn professional.
In 1954, Mr. Diddley made a demonstration recording with his band, which now had Jerome Green on maracas, approximating Sandman’s swishing sound. Phil and Leonard Chess, of Chess records, liked the demo, especially the tremelo on the guitar, a sound that seem to slosh around like water. They saw it as a promising novelty and encouraged the group to return.
By Billy Boy Arnold’s account, the next day, as the band and their soon-to-be producers were setting up for a rehearsal, they were idly casting about for a stage name for Ellas McDaniel when Mr. Arnold thought of Bo Diddley. The name, Mr. Arnold said, described a “bow-legged guy, a comical-looking guy.”
That may be all there is to tell about the name, except for the fact that a certain one-string guitar — native to the Mississippi Delta, often home-made, in which a length of wire is stretched between two nails in a door — is called a Diddley Bow (sometimes spelled Diddlie Bow). By his account, however, Mr. Diddley had never played one.
In any case, Otha Ellas McDaniel had a new name and the title of a new song, whose lyrics began, “Bo Diddley bought his babe a diamond ring.” “Bo Diddley” became the A side of his first single, in 1955, on the Checker label, a subsidiary of Chess. It reached No. 2 on the Billboard chart.
Mr. Diddley said he had first heard the three-stroke/rest/two-stroke “Bo Diddley beat” in a church in Chicago. But variations of it were in the air. The children’s game “hambone” used a similar rhythm.
The beat is also related to the Afro-Cuban clave, which had been popularized at the time by the New Orleans mambo carnival song “Jockomo,” recorded by Sugar Boy Crawford in 1953.
Whatever the source, Mr. Diddley felt the beat’s power. In early songs like “Pretty Thing” and “Bo Diddley,” he arranged the rhythm for tom-toms, guitar, maracas and voice, with no cymbals and no bass. (Also arranged in his signature rhythm was the eerie “Mona,” a song of praise he wrote for a 45-year-old exotic dancer who worked at the Flame Show Bar in Detroit; this became the template for Holly’s “Not Fade Away.”)
Appearing on “The Ed Sullivan Show” in 1955, Mr. Diddley was asked to play Tennessee Ernie Ford’s “Sixteen Tons.” Without telling Mr. Sullivan, he played “Bo Diddley” instead. Afterward, in an off-camera confrontation, Mr. Sullivan told him that he would never work in television again. Mr. Diddley did not play again on a network show for 10 years.
For decades, Mr. Diddley was bitter about his relationship with the Chess family, whom he accused of withholding money owed to him. In her book “Spinning Blues into Gold,” Nadine Cohodas quoted Marshall Chess as saying, “What’s missing from Bo’s version of events is all the gimmes.” Mr. Diddley would borrow so heavily against projected royalties, Mr. Chess said, that not much was left over in the final accounting.
Mr. Diddley’s watery tremolo effect, from 1955 onward, came from one of the first effects boxes to be manufactured for guitars: the DeArmond Model 60 Tremelo Control. But Mr. Diddley contended that he had already built something similar himself, with automobile parts and an alarm-clock spring.
His first trademark guitar was also handmade: he took the neck and the circuitry off a Gretsch guitar and connected it to a square body he had built. In 1958, he asked Gretsch to make him a better one to the same specifications. Gretsch made it as a limited-edition guitar called “Big B.”
On songs like “Who Do You Love,” his guitar style — bright, chicken-scratch rhythm patterns on a few strings at a time — was an extension of his early violin playing, he said.
“My technique comes from bowing the violin, that fast wrist action,” he told George White, explaining that his fingers were too big to move around easily. Rather than fingering the fretboard, Mr. Diddley said, he tuned the guitar to an open E and moved a single finger up and down to create chords.
As his fame rose, his personal life grew complicated. His first marriage, at the age of 18, to Louise Woolingham, lasted less than a year. His second marriage, in 1949, to Ethel “Tootsie” Smith, unraveled in the late 1950s. He then moved from Chicago to Washington, settling in the Mount Pleasant district, where he built a studio in his home.
Separated from his wife, he was performing in Birmingham, Ala., when, backstage, he met a young door-to-door magazine saleswoman named Kay Reynolds, a fan, who was 15 and white. They moved in together in short order and were soon married, in spite of Southern taboos and laws against racial intermarriage. During the late 1950s, Mr. Diddley’s band featured a female guitarist, Peggy Jones (stage-named Lady Bo), at a time when there were scarcely any women in rock. She was replaced by Norma Jean Wofford, whom Mr. Diddley called the Duchess. He pretended she was his sister, he said, to be in a better position to protect her on the road. The early 1960s were low times. Chess, searching for a hit, had Mr. Diddley make albums to capitalize on the dance craze “the twist,” as Chubby Checker had done, and on the “surf” music of the Beach Boys. But soon a foreign market for his earlier music began to grow, thanks in large part to the Rolling Stones, a newly popular band that was regularly playing at least seven of his songs in their concerts. It paved the way for Mr. Diddley’s successful tour of England in 1963.
But he wasn’t willing to move to Europe, and in America the picture worsened for him: the Beatles, the Stones, Bob Dylan and the Byrds quickly made Bo Diddley sound quaint. When work all but dried up, he moved to New Mexico in the early 1970s and became a deputy sheriff in the town of Los Lunas. With his sound updated to resemble hard rock and soul, he continued to make albums for Chess until his contract with it expired in 1974. His recording career never picked up after that, despite flirtations with synthesizers, religious rock and hip-hop. But he continued apace as a performer and public figure, popping up in places both obvious, like rock ’n’ roll nostalgia revues, and not so obvious: a Nike advertisement, the film “Trading Places” with Eddie Murphy, the 1979 tour with the Clash, and two presidential inaugurals, George H. W. Bush’s and Bill Clinton’s.
Since the early ’80s, Mr. Diddley lived in Archer, Fla., near Gainesville, owning 76 acres and a recording studio. His passions were fishing and old cars, including a 1969 purple Cadillac hearse. In 1992, he married Sylia R. Paiz, who became his fourth wife.
Mr. Diddley’s survivors also include his children, Evelyn Kelly, Ellas A. McDaniel, Tammi D. McDaniel and Terri Lynn McDaniel, as well as 15 grandchildren, 15 great-grandchildren and three great-great-grandchildren.
Mr. Diddley attributed his longevity to abstinence from drugs and drinking, but in recent years he had suffered from diabetes. After a concert in Council Bluffs, Iowa, on May 13, Mr. Diddley had a stroke and was taken to Creighton University Medical Center in Omaha. Last Aug. 28, he suffered a heart attack in Gainesville and was hospitalized.
Mr. Diddley always believed that he and Chuck Berry had started rock ’n’ roll, and the fact that he couldn’t, financially, reap all that he had sowed made him a deeply suspicious man.
“I tell musicians, ‘Don’t trust nobody but your mama,’ ” he said in an interview with Rolling Stone magazine in 2005. “And even then, look at her real good.”
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FactBench
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https://msbluestrail.org/blues-trail-markers/bo-diddley
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The Mississippi Blues Trail
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2009-07-15T16:00:00+00:00
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Acclaimed as a founder of rock 'n' roll, Bo Diddley (Ellas Bates McDaniel) was born near Magnolia, south of McComb, on December 30, 1928. Diddley wrote and recorded such hits as “I’m a Man,” “Bo Diddley,” “Say Man,” and “Road Runner.” The distinctive rhythm of his “Bo Diddley” beat and his pioneering use of electronic distortion were widely influential.His songs have been covered by Buddy Holly, the Rolling Stones, The Who, Eric Clapton, and many others.
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en
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https://msbluestrail.org/wp-content/uploads/favicon.ico
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The Mississippi Blues Trail
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https://msbluestrail.org/blues-trail-markers/bo-diddley
|
Bo Diddley - McComb
Acclaimed as a founder of rock ‘n’ roll, Bo Diddley (Ellas Bates McDaniel) was born near Magnolia, south of McComb, on December 30, 1928. Diddley wrote and recorded such hits as “I’m a Man,” “Bo Diddley,” “Say Man,” and “Road Runner.” The distinctive rhythm of his “Bo Diddley” beat and his pioneering use of electronic distortion were widely influential. His songs have been covered by Buddy Holly, the Rolling Stones, The Who, Eric Clapton, and many others.
Bo Diddley, one of the most unconventional yet influential figures in the history of American popular music, lived his early years in Pike and Amite counties. According to the 1930 census, his name as a two-year-old was Ellis [sic] Landry; his mother, Ethel Wilson, was living at the time with her cousin, Eugene Bates (the man Diddley believed to be his father). Diddley used the surname Bates until his mother’s cousin Gussie McDaniel began raising him. In McComb the McDaniel family lived on Carver Street, near Highway 51; they moved to Chicago in the mid-1930s. There Diddley took up the violin, and at age twelve received his first guitar. His unique approach to guitar, he recalled, stemmed largely from his attempts to imitate the sound of a bow on a violin. As a teen he began playing for tips on the streets and eventually in clubs with groups that included blues recording artists Jody Williams and Billy Boy Arnold. To achieve his own sound Diddley rebuilt guitar amplifiers and constructed a tremolo unit out of a clock spring and automobile parts, and enhanced the group’s rhythm by adding maracas and drums.
In 1955 Diddley made his first single for Chicago’s Checker Records. Both sides were hits: “I’m A Man” was a bold declaration of pride at a time when many whites referred to an African American man derogatorily as “boy,” and was covered by Muddy Waters as “Mannish Boy”, while the flip side, “Bo Diddley”, spotlighted his trademark beat, which was similar to a traditional African American slapping rhythm known as “hambone.” Diddley said he traced his variation back to Pentecostal church services, and his younger brother, the Reverend Kenneth Haynes, recalled Bo singing the rhythm as a child. The name “Bo Diddley” was used by various black vaudeville performers prior to his birth, and was suggested as a more colorful stage name than Ellas McDaniel when he recorded.
Diddley, Fats Domino, Little Richard and Chuck Berry were among the few African American artists to achieve crossover stardom in the 1950s rock’n’ roll market, and many bands adopted Diddley’s songs and beat. Diddley’s guitar sound became part of the basic vocabulary of rock, influencing guitarists including Link Wray, Jimi Hendrix, Led Zeppelin’s Jimmy Page, and the Who’s Pete Townsend, while his later funk recordings have been sampled by hip hop artists such as De la Soul and Method Man.
A member of both the Blues and Rock and Roll Halls of Fame, Diddley received Lifetime Achievement Awards from the Rhythm & Blues Foundation and the National Academy of Recording Arts & Sciences, as well as a Mississippi Governor’s Award for Excellence in the Arts. He died at his home in Archer, Florida, on June 2, 2008.
Captions
Although Bo Diddley retired from performing in 2007 due to ill health, he was inspired to briefly sing in public for the last time when he attended the original dedication of this marker in 2007.
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FactBench
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3
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https://www.allaboutjazz.com/musicians/bo-diddley/
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Bo Diddley Musician
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2008-06-03T11:38:35
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Jazz musician Bo Diddley's bio, concert & touring information, albums, reviews, videos, photos and more.
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//www.allaboutjazz.com/musicians/bo-diddley/
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Bo Diddley is recognized as one of the first and most influential rock guitarist and musicians. He was born in Pike County, Mississippi, on December 20, 1928. His birth name was Otha Ellas Bates. In 1934 his mother sent him to live with his cousin, Guisse McDaniel in Chicago. Later Otha changed his name to Ellas McDaniel Diddley. At the age of ten he became very interested in music. He began studying the violin and guitar at Foster High School . Bo was very active as a teenager and even took boxing lessons. He played violin for the Ebenezer Baptist Church Orchestra. Diddley played songs on street corners with his friend Jerome Green, and Diddley worked construction for extra money. By October, 1954, Bo had a group. He had bought himself an electric guitar, and Bo's career had begun. He hooked up with Jerome Green t o record two of what became Diddley hits The two hits were put out on Checker and sky rocketed all the way to number two on national R and B charts. Bo Diddley also appeared on Ed Sullivan television shows. Bo's first records showed him to be far ahead of his time in guitar playing. After he hooked up with Billy "Boy" Arnold and was released from Chess Records, Bo changed his entire playing method. Bo Diddley had a string of hits through the early 1960's. After losing favor in the U.S., he became popular in England. Years later, his influence on the British rock scene continued as he was invited to perform with Clash. Bo Diddley had many honors as a musician. In 1987 he was inducted into the Rock and Roll Hall of Fame. Diddley's success heralded the beginning of the rock 'n roll craze. Not just blacks, but whites also found enjoyment in his music. Diddley was both a powerful singer and innovator who lived in Southern California for many years. .I'm an ordinary fellow," he has said. "But I have to be different in what I do...Because that's what keeps me in the music business." Today, according to Cort Chilldon of Gainesville, Florida, Bo Diddley lives in Archer, Florida. He says, " You [are] right about him being a normal guy. He is very down to earth and hates special treatment. I think that is why he live where he does."
Source: Carl Wilson
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FactBench
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https://www.ocala.com/story/news/state/2008/06/08/bo-diddley-gets-a-rocking-send-off/31249859007/
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Bo Diddley gets a rocking send-off
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"BILL DEAN THE GAINESVILLE SUN, The Star Banner"
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In one his best-known songs from the 1950s, Bo Diddley once proclaimed himself \
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GAINESVILLE — In one his best-known songs from the 1950s, Bo Diddley once proclaimed himself "I'm a Man." But at his funeral Saturday and at a musical celebration in his honor Saturday night, he was lionized as a friend, legend, benefactor and family member.
Diddley, whose real name was Ellas Bates McDaniel, also was saluted earlier in the day with a parade and festival renamed after him, Yulee Diddley Day, in Archer, where he had lived for more than 20 years.
At Diddley's funeral, with hundreds in attendance, not only was Saturday declared "Bo Diddley Day" by Alachua County, the cities of Archer and Gainesville and other entities, but Gainesville Mayor Pegeen Hanharan unveiled plans to rename in Diddley's honor the Downtown Community Plaza, where Diddley had performed on numerous occasions, the last being in 2006.
"He is by far the most talented musician who had ever played the Downtown Plaza and he it did for nothing," Hanrahan said during the service.
At Diddley's funeral at the Showers of Blessings Harvest Center in Gainesville, proclamations, stories and songs flowed in a service that was part funeral, part celebration and part American music lesson, with emotions ranging from rousing to tear-inducing.
"This is the homecoming of a great man, a legend who touched many hearts around the globe," Karl Anderson, who served as the funeral's master of ceremonies, told the crowd.
As the building filled with family, friends and fans of the longtime Archer resident, the choir from his church, the Archer Church of God in Christ, began leading refrains of the famous Diddley song bearing his name, singing "Hey, Bo Diddley!" with the crowd answering back: "Hey, Bo Diddley!"
Once the service began, Anderson spared little time before mentioning "the syncopated beat they named after him" and defining Diddley's place in popular music.
"Whereas James Brown took it to the bridge, Bo Diddley took it all the way," Anderson said before introducing speakers, friends and dignitaries who ranged from Diddley's sole surviving sibling, his brother Kenneth Haynes, to Alachua County Commissioner Rodney Long, Gainesville Mayor Hanrahan and Archer Mayor Laurie Costello, among many others.
"His syncopated rhythm has been used by countless musicians since he created it in the 1950s," Long said. "So to the family, we thank you for sharing this man with the entire world," Long said to Diddley's family members sitting in the front rows. Among them were Diddley's four children, 15 grandchildren and 15 great-grandchildren.
Diddley's presence and legacy as a literal co-creator of rock 'n' roll was so strong and palpable during the service that, as Anderson told the crowd, no one dared play the guitar in the band assembled at the pulpit.
"There's drums, bass, synthesizers, organ and piano but no lead and rhythm guitar, because no one wants to come in here and compete with Bo," he said.
Mountains of flowers around his casket were so vast that their peaks of red, green, white and yellow nearly obscured the view of Diddley's casket. Among the arrangements were one from Tom Petty and the Heartbreakers of orange roses, lillies and feathers, and others from guitarist Jimmie Vaughan, singer-guitarist George Thorogood, the Rock and Roll Hall of Fame and not one - but two - life-sized flower arrangements of Diddley's box-shaped guitar in red roses and carnations.
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Bo Diddley
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Template:Externalvideo Ellas McDaniel (born Ellas Bates;[1] December 30, 1928 – June 2, 2008), known as Bo Diddley, was an American singer, guitarist, songwriter and music producer who played a key role in the transition from the blues to rock and roll. He influenced many artists, including...
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The Movies Wiki
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https://lionheadthemovies.fandom.com/wiki/Bo_Diddley
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American R&B musicianTemplate:SHORTDESC:American R&B musician
This article is about the singer. For other uses, see Bo Diddley (disambiguation).
Template:Externalvideo Ellas McDaniel (born Ellas Bates;[1] December 30, 1928 – June 2, 2008), known as Bo Diddley, was an American singer, guitarist, songwriter and music producer who played a key role in the transition from the blues to rock and roll. He influenced many artists, including Buddy Holly,[2] Elvis Presley,[3] the Beatles, the Rolling Stones,[4] the Animals, George Thorogood, and the Clash.[5]
His use of African rhythms and a signature beat, a simple five-accent hambone rhythm, is a cornerstone of hip hop, rock, and pop music.[4][6][7] In recognition of his achievements, he was inducted into the Rock and Roll Hall of Fame in 1987, the Blues Hall of Fame in 2003, and the Rhythm and Blues Music Hall of Fame in 2017.[8][6][9] He received a Lifetime Achievement Award from the Rhythm and Blues Foundation and the Grammy Lifetime Achievement Award.[10] Diddley is also recognized for his technical innovations, including his use of tremolo and reverb effects to enhance the sound of his distinctive rectangular-shaped guitar.[11][12]
Life and career[]
Early life[]
Born in McComb, Mississippi,[nb 1] as Ellas Bates (some sources give his name as Otha Ellas Bates or as Elias Otha Bates),[14] Bo Diddley was the only child of Ethel Wilson, a sharecropper's teenaged daughter, and Eugene Bates,[15] whom he never knew. Wilson was only sixteen, and being unable to support a family, she gave her cousin, Gussie McDaniel,[16] permission to raise her son.[13] McDaniel eventually adopted him, and he assumed her surname.[17] After his adoptive father Robert died in 1934, when Diddley was 5 years old,[18] Gussie McDaniel moved with him and her three children to the South Side of Chicago;[19][nb 2] he later dropped Otha from his name and became Ellas McDaniel.[20] He was an active member of Chicago's Ebenezer Baptist Church,[21] where he studied the trombone and the violin,[19] becoming so proficient on the violin that the musical director invited him to join the orchestra, in which he played until he was 18. However, he was more interested in the joyful, rhythmic music he heard at a local Pentecostal Church and took up the guitar;[22] his first recordings were based on that frenetic church music.[23] Diddley said he thought that the trance-like rhythm he used in his rhythm and blues music came from the Sanctified churches he had attended as a youth in his Chicago neighborhood.[24]
Inspired by a John Lee Hooker performance,[6] Diddley supplemented his income as a carpenter and mechanic by playing on street corners with friends,[25] including Jerome Green, in the Hipsters band, later renamed the Langley Avenue Jive Cats.[19] Green became a near-constant member of McDaniel's backing band, the two often trading joking insults with each other during live shows.[26][27] In the summers of 1943 and 1944, he played at the Maxwell Street market in a band with Earl Hooker.[28] By 1951 he was playing on the street with backing from Roosevelt Jackson on washtub bass and Jody Williams, who had played harmonica as a boy but took up guitar in his teens after he met Diddley at a talent show,[29] with Diddley teaching him some aspects of playing the instrument,[30] including how to play the bass line.[31] Williams later played lead guitar on "Who Do You Love?" (1956).[30][24]
In 1951, he landed a regular spot at the 708 Club, on Chicago's South Side,[32] with a repertoire influenced by Louis Jordan, John Lee Hooker, and Muddy Waters.[25] 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 Universal Recording Corp. for Chess Records, 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 number one R&B hit.[33]
Origins of stage name[]
The origin of the stage name Bo Diddley is unclear. McDaniel claimed that his peers gave him the name, which he suspected was an insult.[34] Diddly is a truncation of diddly squat, which means "absolutely nothing".[35][36] Diddley also said that the name first belonged to a singer his adoptive mother knew. Harmonicist Billy Boy Arnold said that it was a local comedian's name, which Leonard Chess adopted as McDaniel's stage name and the title of his first single.[37] McDaniel also stated that his school classmates in Chicago gave him the nickname, which he started using when sparring and boxing in the neighborhood with The Little Neighborhood Golden Gloves Bunch.[38][39]
In the story "Black Death" by Zora Neale Hurston, Beau Diddely was a womanizer who impregnates a young woman, disavows responsibility, and meets his undoing by the powers of the local hoodoo man. Hurston submitted it in a contest run by the academic journal Opportunity in 1925, where it won an honorable mention, but it was never published in her lifetime.[40][41]
A diddley bow is a homemade single-string instrument that survived in the American Deep South,[42] especially in Mississippi. Played mainly by children,[43] the diddley bow in its simplest form was made by nailing a length of broom wire to the side of a house, using a rock placed under the string as a movable bridge, and played in the style of a bottleneck guitar, with various objects used as a slider.[44] The apparent consensus among scholars is that the diddley bow is derived from the monochord zithers of central Africa.[45] Diddley played his song "Bo Diddley" in one string fashion on the guitar, in the style of the children's instrument.[43]
Success in the 1950s and 1960s[]
On November 20, 1955, Diddley appeared on the popular television program The Ed Sullivan Show. According to legend, when someone on the show's staff overheard him casually singing "Sixteen Tons" in the dressing room, he was asked to perform the song on the show. One of Diddley's later versions of the story was that upon seeing "Bo Diddley" on the cue card, he thought he was to perform both his self-titled hit single and "Sixteen Tons".[46] Sullivan was furious and banned Diddley from his show, reputedly saying that he wouldn't last six months. Chess Records included Diddley's cover of "Sixteen Tons" on the 1963 album Bo Diddley Is a Gunslinger.[47]
Diddley's hit singles continued in the 1950s and 1960s: "Pretty Thing" (1956), "Say Man" (1959), and "You Can't Judge a Book by the Cover" (1962). He also released numerous albums, including Bo Diddley Is a Gunslinger and Have Guitar, Will Travel. These bolstered his self-invented legend.[26] Between 1958 and 1963, Checker Records released eleven full-length Bo Diddley albums. In the 1960s, he broke through as a crossover artist with white audiences (appearing at the Alan Freed concerts, for example),[26] but he rarely aimed his compositions at teenagers. Diddley was among those musicians who capitalized on the mid-1960s surfing and beach party craze in the United States, and released the albums Surfin' with Bo Diddley and Bo Diddley's Beach Party.[45] These featured heavy, distorted blues, played on his Gretsch guitar with bended notes and minor key riffs, unlike the clean, undistorted sounds of the Fender guitars used by the California surf bands. The cover of Surfin' with Bo Diddley had a photograph of two surfers riding a big wave.[48]
In 1963, Diddley starred in a UK concert tour with the Everly Brothers and Little Richard along with the Rolling Stones (a little-known band at that time).[49]
Diddley wrote many songs for himself and also for others.[50] In 1956, he and guitarist Jody Williams co-wrote the pop song "Love Is Strange", a hit for Mickey & Sylvia in 1957, reaching number 11 on the chart.[51] Mickey Baker claimed that he (Baker) and Bo Diddley's wife, Ethel Smith, wrote the song.[52] Diddley also wrote "Mama (Can I Go Out)", which was a minor hit for the pioneering rockabilly singer Jo Ann Campbell, who performed the song in the 1959 rock and roll film Go Johnny Go.[53]
After moving from Chicago to Washington, D.C., Diddley built his first home recording studio in the basement of his home at 2614 Rhode Island Avenue NE. Frequented by several of Washington, D.C.'s musical luminaries, the studio was the site where he recorded the Checker LP (Checker LP-2977) Bo Diddley Is a Gunslinger.[54] Diddley also produced and recorded several up-and-coming groups from the Washington, D.C. area. One of the first groups he recorded was local doo-wop group the Marquees, featuring Marvin Gaye and baritone-bass Chester Simmons, who mooonlighted as Diddley's chaffeur.[55]
The Marquees appeared in talent shows at the Lincoln Theatre, and Diddley, impressed by their smooth vocal delivery, let them rehearse in his studio. Diddley got the Marquees signed to Columbia subsidiary label OKeh Records after unsuccessfully attempting to get them a contract with his own label, Chess.[55] The OKeh label rivaled Chess in the promotion of rhythm and blues. On September 25, 1957, Diddley drove the group to New York City to record "Wyatt Earp", a novelty song written by Reese Palmer, lead singer of the Marquees. Diddley produced the session, with the group backed by his own band. They cut their first record, a single with "Wyatt Earp" on the A-side and "Hey Little School Girl" on the B-side,[56] but it failed to become a hit.[57] Diddley persuaded Moonglows founder and backing vocalist Harvey Fuqua to hire Gaye. Gaye joined the Moonglows as first tenor;[58] the group then moved to Detroit with the hope of signing with Motown Records[6] founder Berry Gordy Jr.
Diddley included women in his band: Norma-Jean Wofford, also known as The Duchess; Gloria Jolivet; Peggy Jones, also known as Lady Bo, a lead guitarist (rare for a woman at that time); and Cornelia Redmond, also known as Cookie V.[59][60]
Later years[]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
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In early 1971, writer-musician Michael Lydon, a founding editor of Rolling Stone, conducted a lengthy, rambling interview of Diddley, at his then home in the San Fernando Valley, California. Lydon described him as a "protean genius" whose songs were "hymns to himself", and led the published piece with a Diddley quote: "Everything I know I taught myself."[61]
Over the decades, Diddley's performing 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.[62] The Grateful Dead released part of this concert as Volume 30 of the band's concert album series, Dick's Picks. Also in the early 1970s, the soundtrack of the ground-breaking animated film Fritz the Cat contained his song "Bo Diddley", in which a crow dances[63] and finger-pops to the track.[64]
Diddley spent some years in New Mexico, living in Los Lunas from 1971 to 1978, while continuing his musical career. He served for two and a half years as a deputy sheriff in the Valencia County Citizens' Patrol; during that time he purchased and donated three highway-patrol pursuit cars.[65] In the late 1970s, he left Los Lunas and moved to Hawthorne, Florida, where he lived on a large estate in a custom-made log cabin, which he helped to build. For the remainder of his life he divided his time between Albuquerque and Florida, living the last 13 years of his life in Archer, Florida,[66] a small farming town near Gainesville.
In 1979, he appeared as an opening act for The Clash on their US tour.[67]
In 1983, he made a cameo appearance as a Philadelphia pawn shop owner in the comedy film Trading Places.[68][69] He also appeared in George Thorogood's music video for the song "Bad to the Bone," portraying a guitar-slinging pool shark.[70]
In 1985, he appeared on George Thorogood's set, alongside fellow blues legend Albert Collins, on the Live Aid American stage to perform Thorogood's popular cover of Diddley's song Who Do You Love?".[71]
In 1989, Diddley entered into a licensing agreement with the sportswear brand Nike. The Wieden & Kennedy-produced commercial in the "Bo Knows" campaign teamed Diddley with dual sportsman Bo Jackson.[72] The agreement ended in 1991,[73] but in 1999, a T-shirt of Diddley's image and "You don't know diddley" slogan was purchased in a Gainesville, Florida, sports apparel store. Diddley felt that Nike should not continue to use the slogan or his likeness and fought Nike over the copyright infringement. Despite the fact that lawyers for both parties could not come to a renewed legal arrangement, Nike allegedly continued marketing the apparel and ignored cease-and-desist orders,[74] and a lawsuit was filed on Diddley's behalf, in Manhattan Federal Court.[75]
In Legends of Guitar (filmed live in Spain in 1991), Diddley performed with B.B. King, Les Paul, Albert Collins, and George Benson, among others. He joined the Rolling Stones on their 1994 concert broadcast of Voodoo Lounge, performing "Who Do You Love?".
In 1996, he released A Man Amongst Men, his first major-label album (and his final studio album) with guest artists like Keith Richards, Ron Wood and the Shirelles. The album earned a Grammy Award nomination in 1997 for the Best Contemporary Blues Album category.[50]
Diddley performed a number of shows around the country in 2005 and 2006, with fellow Rock and Roll Hall of Famer Johnnie Johnson and his band, consisting of Johnson on keyboards, Richard Hunt on drums and Gus Thornton on bass. In 2006, he participated as the headliner of a grassroots-organized fundraiser concert to benefit the town of Ocean Springs, Mississippi, which had been devastated by Hurricane Katrina. The "Florida Keys for Katrina Relief" had originally been set for October 23, 2005, when Hurricane Wilma barreled through the Florida Keys on October 24, causing flooding and economic mayhem.
In January 2006, the Florida Keys had recovered enough to host the fundraising concert to benefit the more hard-hit community of Ocean Springs. When asked about the fundraiser, Diddley stated, "This is the United States of America. We believe in helping one another". The all-star band included members of the Soul Providers, and famed artists Clarence Clemons of the E Street Band, Joey Covington of Jefferson Airplane, Alfonso Carey of The Village People, and Carl Spagnuolo of Jay & The Techniques.[76][77] In an interview with Holger Petersen, on Saturday Night Blues on CBC Radio in the fall of 2006,[78] He commented on racism in the music industry establishment during his early career, which deprived him of royalties from the most successful part of his career.[79]
His final guitar performance on a studio album was with the New York Dolls on their 2006 album One Day It Will Please Us to Remember Even This. He contributed guitar work to the song "Seventeen", which was included as a bonus track on the limited-edition version of the disc.
In May 2007, Diddley suffered a stroke after a concert the previous day in Council Bluffs, Iowa.[80] Nonetheless, he delivered an energetic performance to an enthusiastic crowd. A few months later he had a heart attack.[81] While recovering, Diddley came back to his hometown of McComb, Mississippi, in early November 2007, for the unveiling of a plaque devoted to him on the Mississippi Blues Trail. This marked his achievements and noted that he was "acclaimed as a founder of rock-and-roll." He was not supposed to perform, but as he listened to the music of local musician Jesse Robinson, who sang a song written for this occasion, Robinson sensed that Diddley wanted to perform and handed him a microphone, the only time that he performed publicly after his stroke.[82]
Personal life[]
Marriages and children[]
Bo Diddley was married four times. His first marriage, at 18, to Louise Willingham, lasted a year.[45] Diddley married his second wife Ethel Mae Smith in 1949; they had two children.[83] He met his third wife, Kay Reynolds, when she was 15, while performing in Birmingham, Alabama.[81] They soon moved in together and married, despite taboos against interracial marriage.[81] They had two daughters.[83] He married his fourth wife, Sylvia Paiz, in 1992; they were divorced at the time of his death.[81][45]
Health problems[]
On May 13, 2007, Diddley was admitted to intensive care in Creighton University Medical Center in Omaha, Nebraska, following a stroke after a concert the previous day in Council Bluffs, Iowa.[80] Starting the show, he had complained that he did not feel well. He referred to smoke from the wildfires that were ravaging south Georgia and blowing south to the area near his home in Archer, Florida. The next day, as he was heading back home, he seemed dazed and confused at the airport; 911 and airport security were called, and he was immediately taken by ambulance to Creighton University Medical Center where he stayed for several days. After tests, it was confirmed that he had suffered a stroke.[84] Diddley had a history of hypertension and diabetes, and the stroke affected the left side of his brain, causing receptive and expressive aphasia (speech impairment).[85] The stroke was followed by a heart attack, which he suffered in Gainesville, Florida, on August 28, 2007.[81]
Death[]
Bo Diddley died on June 2, 2008, of heart failure at his home in Archer, Florida at the age of 79.[86][87] Garry Mitchell, his grandson and one of more than thirty-five family members at the musician's home when he died at 1:45 am. EDT, 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 the deathbed. "The song was 'Walk Around Heaven' and in his last words he stated that he was going to heaven."[88]
He was survived by his children, Evelyn Kelly, Ellas A. McDaniel, Pamela Jacobs, Steven Jones, Terri Lynn McDaniel-Hines, and Tammi D. McDaniel; a brother, the Rev. Kenneth Haynes; and eighteen grandchildren, fifteen great-grandchildren and three great-great-grandchildren.[81]
His funeral, a four-hour "homegoing" service, took place on June 7, 2008, at Showers of Blessings Church in Gainesville, Florida. Some in attendance chanted "Hey Bo Diddley" as the Archer Church of God in Christ gospel band played. A number of notable musicians sent flowers, including Little Richard, George Thorogood, Tom Petty and Jerry Lee Lewis.[89][90] Little Richard, who had been asking his audiences to pray for Bo Diddley throughout his illness, had to fulfill concert commitments in Westbury and New York City the weekend of the funeral. He remembered Diddley at the concert, performing his namesake tune.[91]
After the funeral service, a tribute concert was held at the Martin Luther King Center in Gainesville, Florida, and featured guest performances by his son and daughter, Ellas A. McDaniel and Evelyn "Tan" Cooper; long-time background vocalist and original Boette, Gloria Jolivet; long-time friend, co-producer, and former Bo Diddley & Offspring guitarist Scott "Skyntyte" Free; and Eric Burdon. In the days following his death, tributes were paid by then-President George W. Bush, the United States House of Representatives, and musicians and performers including B. B. King, Ronnie Hawkins, Mick Jagger, Ronnie Wood, George Thorogood, Eric Clapton, Tom Petty, Robert Plant, Elvis Costello, Bonnie Raitt, Robert Randolph and the Family Band and Eric Burdon. Burdon used video footage of the McDaniel family and friends in mourning for a video promoting his ABKCO Records release "Bo Diddley Special".[citation needed]
In November 2009, the guitar used by Bo Diddley in his final stage performance sold for $60,000 at auction.[92]
In 2019, members of Bo Diddley's family sued to regain control of the music catalog held in trust by attorney Charles Littell. The family was successful in appointing a new trustee, music industry veteran Kendall Minter.[93] The family was represented by Charles David of Florida Probate Law Group in the 2019 lawsuit.[94][95]
Accolades[]
Bo Diddley was posthumously awarded a Doctor of Fine Arts degree by the University of Florida for his influence on American popular music. In its People in America radio series, about influential people in American history, the Voice of America radio service paid tribute to him, describing how "his influence was so widespread that it is hard to imagine what rock and roll would have sounded like without him." Mick Jagger stated that "he was a wonderful, original musician who was an enormous force in music and was a big influence on the Rolling Stones. He was very generous to us in our early years and we learned a lot from him". Jagger also praised the late star as a one-of-a-kind musician, adding, "We will never see his like again".[96] The documentary film Cheat You Fair: The Story of Maxwell Street by director Phil Ranstrom features Bo Diddley's last on-camera interview.[97]
He achieved numerous accolades in recognition of his significant role as one of the founding fathers of rock and roll.
1986: Inducted into the Washington Area Music Association's Hall of Fame.
1987: Inducted into the Rock and Roll Hall of Fame[6]
1987: Inducted into the Rockabilly Hall of Fame
1990: Lifetime Achievement Award from Guitar Player magazine
1996: Lifetime Achievement Award from the Rhythm and Blues Foundation
1998: Grammy Lifetime Achievement Award[10]
1999: His 1955 recording of his song "Bo Diddley" inducted into the Grammy Hall of Fame[98]
2000: Inducted into the Mississippi Musicians Hall of Fame[99]
2000: Inducted into the North Florida Music Association's Hall of Fame
2002: Pioneer in Entertainment Award from the National Association of Black Owned Broadcasters
2002: Honored as one of the first BMI Icons at the 50th annual BMI Pop Awards, along with BMI affiliates Chuck Berry and Little Richard.[100]
2003: Inducted into the Blues Hall of Fame[8]
2008: Honorary Doctor of Fine Arts degree posthumously conferred on Diddley by the University of Florida in August (the award had been confirmed before his death in June).
2020: Induction into the Florida Artists Hall of Fame
2010: Induction into the Hit Parade Hall of Fame.[101]
2017: Inducted into the Rhythm and Blues Music Hall of Fame.[9]
In 2003, U.S. Representative John Conyers paid tribute to Bo Diddley in the United States House of Representatives, describing him as "one of the true pioneers of rock and roll, who has influenced generations".[102]
In 2004, Mickey and Sylvia's 1956 recording of "Love Is Strange" (a song first recorded by Bo Diddley but not released until a year before his death) was inducted into the Grammy Hall of Fame as a recording of qualitative or historical significance. Also in 2004, Bo Diddley was inducted into the Blues Foundation's Blues Hall of Fame and was ranked number 20 on Rolling Stone magazine's list of the 100 Greatest Artists of All Time.[103]
In 2005, Bo Diddley celebrated his 50th anniversary in music with successful tours of Australia and Europe and with coast-to-coast shows across North America. He performed his song "Bo Diddley" with Eric Clapton and Robbie Robertson at the Rock and Roll Hall of Fame's 20th annual induction ceremony. In the UK, Uncut magazine included his 1957 debut album, Bo Diddley, in its listing of the '100 Music, Movie & TV Moments That Have Changed the World'.
Bo Diddley was honored by the Mississippi Blues Commission with a Mississippi Blues Trail historic marker placed in McComb, his birthplace, in recognition of his enormous contribution to the development of the blues in Mississippi.[104] On June 5, 2009, the city of Gainesville, Florida, officially renamed and dedicated its downtown plaza the Bo Diddley Community Plaza. The plaza was the site of a benefit concert at which Bo Diddley performed to raise awareness about the plight of the homeless in Alachua County and to raise money for local charities, including the Red Cross.
Beat[]
Main article: Bo Diddley beat
The "Bo Diddley beat" is essentially the clave rhythm, one of the most common bell patterns found in sub-Saharan African music traditions.[105] One scholar found this rhythm in 13 rhythm and blues recordings made in the years 1944–55, including two by Johnny Otis from 1948.[106]
Bo Diddley gave different accounts of how he began to use this rhythm. Ned Sublette says, "In the context of the time, and especially those maracas [heard on the record], 'Bo Diddley' has to be understood as a Latin-tinged record. A rejected cut recorded at the same session was titled only 'Rhumba' on the track sheets."[107] The Bo Diddley beat is 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.[108] Somewhat resembling the "shave and a haircut, two bits" rhythm, Diddley came across it while trying to play Gene Autry's "(I've Got Spurs That) Jingle, Jangle, Jingle".[109] Three years before his "Bo Diddley", a song with similar syncopation "Hambone", was cut by the Red Saunders Orchestra with the Hambone Kids. In 1944, "Rum and Coca Cola", containing the Bo Diddley beat, was recorded by the Andrews Sisters. Buddy Holly's "Not Fade Away" (1957) and Them's "Mystic Eyes" (1965) used the beat.[110]
In its simplest form, the Bo Diddley beat can be counted out as either a one-bar or a two-bar phrase. Here is the count as a one-bar phrase: One e and ah, two e and ah, three e and ah, four e and ah (the boldface counts are the clave rhythm).
Many 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 various rhythms, from straight back beat to pop ballad style to doo-wop, frequently with maracas by Jerome Green.[111] His 1955 rhythm and blues hit, "Bo Diddley", had a "driving African rhythm and ham-bone beat".[112] Beginning that same year, Diddley collaborated with various doo-wop vocal groups, using the Moonglows as a backing group on his first album, Bo Diddley, released in 1958. In one of the most well-known of his 1958 doo-wop sessions, Diddley added harmonies by the Carnations recording as the Teardrops, who sang smooth, polished doo-wop in the backgrounds on the songs "I'm Sorry", "Crackin' Up", and "Don't Let it Go".[19]
An influential guitar player, Bo Diddley developed many special effects and other innovations in tone and attack, particularly the "shimmering" tremolo sound,[12][113] and amp reverb. His trademark instrument was his self-designed, one-of-a-kind, rectangular-bodied "Twang Machine" (referred to as "cigar-box shaped" by music promoter Dick Clark), built by Gretsch. He had other uniquely shaped guitars custom-made for him by other manufacturers throughout the years, most notably the "Cadillac" and the rectangular "Turbo 5-speed" (with built-in envelope filter, flanger and delay) designs, made by Tom Holmes (who also made guitars for ZZ Top's Billy Gibbons, among others). In a 2005 interview on JJJ radio in Australia, he implied that the rectangular 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.[114][115] 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 twelve-bar blues.[116]
Diddley often created lyrics as witty and humorous adaptations of folk music themes. His first hit, "Bo Diddley", was based on hambone rhymes.[117] The first line of his song "Hey Bo Diddley" is derived from the nursery rhyme "Old MacDonald".[118] The song "Who Do You Love?" with its rap-style boasting, and his use of the African-American game known as "the dozens" on the songs "Say Man" and "Say Man, Back Again," are cited as progenitors of hip-hop music;[119] for example, in the dialogue of the song, "Say Man", percussionist Jerome Green says the lines: "You've got the nerve to call somebody ugly. Why, you so ugly till the stork that brought you in the world oughta be arrested."[117]
Discography[]
Template:Quotebox
Main article: Bo Diddley discography
Studio albums[]
Collaborations[]
Chuck Berry Is on Top, with Chuck Berry (Chess, 1959)
Two Great Guitars, with Chuck Berry (Checker, 1964)
Super Blues, with Muddy Waters and Little Walter (Checker, 1967)
The Super Super Blues Band, with Muddy Waters and Howlin' Wolf (Checker, 1968)
Chart singles[]
Year Single Chart Positions US Pop[120] US
R&B[121] UK[122] 1955 "Bo Diddley" /
"I'm a Man" - 1 - "Diddley Daddy" - 11 - 1956 "Pretty Thing" – 4 34
(in 1963) 1959 "I'm Sorry" – 17 – "Crackin Up" 62 14 – "Say Man" 20 3 – "Say Man, Back Again" – 23 – 1960 "Road Runner" 75 20 – 1962 "You Can't Judge a Book by the Cover" 48 21 – 1965 "Hey Good Lookin'" – – 39 1967 "Ooh Baby" 88 17 –
Notes[]
References[]
Books[]
Arsicaud, Laurent (2012). Bo Diddley, Je suis un homme. Camion Blanc editions.
White, George R. (1995), Living Legend. Sanctuary Publishing.
[]
<templatestyles src="Module:Side box/styles.css"></templatestyles>
Official website
[[[:Template:Pop Chronicles url]] Bo Diddley] interviewed on the Pop Chronicles (1969)
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FactBench
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3
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https://www.stlamerican.com/entertainment/living-it/bo-diddley-passes/
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en
|
Bo Diddley passes
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2008-06-02T05:00:00+00:00
|
Musical pioneer Bo Diddley died this morning (Monday) at the age of 79 from heart failure at his home in Archer, Florida, a family spokeswoman said. The world-renowned guitarist’s signature beat — usually played on an equally distinctive rectangular-bodied guitar — laid the foundation for rock ‘n’ roll, and became so identified with him that […]
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en
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St. Louis American
|
https://www.stlamerican.com/entertainment/bo-diddley-passes/
|
Musical pioneer Bo Diddley died this morning (Monday) at the age of 79 from heart failure at his home in Archer, Florida, a family spokeswoman said.
The world-renowned guitarist’s signature beat — usually played on an equally distinctive rectangular-bodied guitar — laid the foundation for rock ‘n’ roll, and became so identified with him that it became known as the “Bo Diddley” beat. It was unlike anything else heard in pop music.
Among the artists who made use of the Bo Diddley beat were Buddy Holly (“Not Fade Away,” later covered by the Rolling Stones), Johnny Otis (“Willie and the Hand Jive”), the Yardbirds (covering Diddley’s “I’m a Man” and adding their own guitar stylings to the closing bars, which were later incorporated into the Count Five’s “Psychotic Reaction”), the Strangeloves (“I Want Candy”), Bruce Springsteen (“She’s the One”), U2 (“Desire”) and George Michael (“Faith”). Hundreds of artists have covered Diddley songs.
His debut single was his self-titled 1955 classic, with “I’m a Man” as its B-side. The songs were released on Chicago’s Chess-Checker Records label, also the home of Chuck Berry and Willie Dixon.
Diddley was born Ellas Otha Bates in McComb, Mississippi, later taking the name McDaniel after being adopted by his mother’s cousin. Diddley’s family moved to Chicago when he was 7, according to his Hall of Fame biography.
He played violin as a child, but said he was inspired to pick up the guitar after hearing John Lee Hooker’s 1949 rhythm and blues hit, “Boogie Chillen.”
He told many stories of how he got the name “Bo Diddley.” In a 1999 interview, he said it came from his childhood friends, according to AP. Other tales included a one-string instrument from traditional blues called a diddley bow, the AP notes.
Either way, it became his own — as did his music.
He continued to tour well into 2007, but suffered a stroke last May and a heart attack in August.
He was inducted into the Rock ‘n’ Roll Hall of Fame in January 1987.
Information from CNN and the Associated Press contributed to this report.
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correct_death_00084
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FactBench
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https://www.rollingstone.com/music/music-news/remembering-bo-diddley-1928-2008-68713/
|
en
|
Remembering Bo Diddley: 1928-2008
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2008-06-27T00:45:00+00:00
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Bo Diddley invented his name, his guitar and a beat that changed music forever. The Stones and others remember one of the founders of rock & roll
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-news/remembering-bo-diddley-1928-2008-68713/
|
For a young black singer and guitarist from Chicago with only a minor hit, getting booked on The Ed Sullivan Show in 1955 was a career-making opportunity. Sullivan asked him to sing Tennessee Ernie Ford’s country smash “Sixteen Tons”; instead, the young star unleashed the guitar maelstrom that introduced him to the world, and whose title bore his name: “Bo Diddley.”
The audience went wild, and Sullivan fumed, promising that Diddley would never appear on television again. Later, Diddley recalled the aftermath: “He says to me, ‘You’re the first colored boy ever double-crossed me on a song.’ And I started to hit the dude, because I was a young hoodlum out of Chicago, and I thought ‘colored boy’ was an insult.”
100 Greatest Artists of All Time: Bo Diddley
Diddley was pure masculinity, with songs that shouted his name and proclaimed his skills. With a cigar-box-shape guitar he designed himself, a Stetson on his head and a sound that permanently reoriented the world’s sense of rhythm, Bo Diddley called himself “the Originator.” And when he died at age 79 on June 2nd from heart failure at his home in Archer, Florida, music lost a one-of-a-kind pioneer. “He was by far the most underrated of any Fifties star,” says Phil Spector. “The rhythmic invention, the excellence of the writing, the power of the vocals — nobody else ever did it better.”
Diddley had only one Top 40 pop hit, 1959’s “Say Man,” but the impact of his songwriting, his guitar-playing and that signature “Bo Diddley beat” were as significant as anyone’s contributions in the history of rock & roll. The “one-two-three, one-two” beat — first established on his debut, 1955’s Number One R&B hit “Bo Diddley” — propelled classic songs by Bruce Springsteen (“She’s the One”), U2 (“Desire”), George Michael (“Faith”), the Who (“Magic Bus”) and countless others. “It was like I did the ‘Bo Diddley’ song by accident,” Diddley said. “I just started beating and banging on my guitar. And then I fooled around and got it syncopated right, where it fit the dirty lyrics that I had. And then it just seemed to fall right into place.” If Diddley’s lone contribution to rock & roll had been the Bo Diddley beat, he would already be an immortal. But his legacy is much larger than that. He made records that were built on boasting rhymes decades before LL Cool J or Run-DMC. And he reduced his music to its basic rhythmic core, stripping his sound to the pure primacy of the beat, long before James Brown used a similar approach to transform soul into funk. In Rock & Roll: An Unruly History, Robert Palmer wrote that “what Bo came up with was a comprehensive theory of rhythmic orchestration . . . . The tendency is for every instrument to become a rhythm instrument.”
Editor’s picks
Friends, Admirers Honor Bo Diddley at Funeral in Gainesville
“I never heard a rhythm come out of a guitar like that,” says Robbie Robertson, whose breakthrough moment was a slashing solo he played on Ronnie Hawkins’ 1963 cover of “Who Do You Love.” “I first met him when I was 16, and he both fascinated me and scared me at the same time.”
Bo Diddley was born Ellas Otha Bates in McComb, Mississippi, on December 30th, 1928. He never knew his father, and his mother couldn’t afford to raise him, so he was adopted by her cousin Gussie McDaniel. He took on her family’s name, becoming Ellas McDaniel. “My people are from New Orleans, the bayou country — French, African, Indian, all mixed up,” Diddley said. “That’s where my music comes from, all that mixture.” After Gussie’s husband died, she moved her two daughters, her son and Ellas, then around seven, to Chicago. He began taking violin lessons at church. “I used to read all this funny music, like Tchaikovsky,” he told Rolling Stone in 1987. “But then I didn’t see too many black dudes playin’ no violin.”
100 Greatest Guitarists of All Time: Bo Diddley
He picked up the guitar after being astonished by John Lee Hooker. At some point, McDaniel also picked up his unforgettable nickname — though, like much in the Bo Diddley story, its origins are tangled. It has alternately been credited to a street diss meaning “worthless” (as in, “Man, you ain’t bo diddley”); a name he was given during his days as a Golden Gloves boxer; the invention of his harmonica player, Billy Boy Arnold; and as a derivation of the “diddley bow,” a single-string guitar seen on Southern farms.
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https://www.facebook.com/thecinellibros/photos/callitstormymonday-ellas-mcdaniel-born-ellas-otha-bates-december-30-1928-known-a/2334418406802940/
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://www.udiscovermusic.com/stories/bo-diddley-beat-feature/
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Tracing The Bo Diddley Beat
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"Jim Allen"
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2024-02-01T05:26:25+00:00
|
The Bo Diddley beat is one of the most copied rhythms in all of pop music. We trace where it came from and who took inspiration from it.
|
en
|
uDiscover Music
|
https://www.udiscovermusic.com/stories/bo-diddley-beat-feature/
|
In the beginning, there was Bo Diddley, and Bo Diddley had the beat. But there’s a lot more to the story than that.
In 1955, Bo Diddley released a daring debut single he named after himself – a sweaty, swampy scorcher defined by a slashing, syncopated groove unlike anything heard in rock ‘n’ roll before. In the process, he laid down a template for generations to come. Rockers started putting their own spin on the “Bo Diddley beat” almost immediately, and the phenomenon continues unabated to this day. Over the years, everybody from The Who and The Rolling Stones to U2 and Tom Petty cranked out their own variation on/homage to Bo’s signature rhythm.
But even though he made the beat famous to the point that it’s become inseparable from his stage name, the singer/guitarist born Ellas Otha Bates in McComb, Mississippi did not invent it.
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The beat’s beginnings
West coast bandleader Johnny Otis didn’t harness the beat on record until after Bo broke through, but he claimed to have first played it in the early 1940s when he was drumming for “Count” Otis Matthews & The Oakland House Rockers. “He told me to do… what he called [a] ‘shave and a haircut six bits beat’ and keep beatin’ it,” Otis once told Wayne Jancik. He also said he heard it when he saw a prison work gang pounding it out with their hammers while building railroad tracks.
Neither the Count nor the chain gang ever put the beat on wax, but Chicago drummer and bandleader Red Saunders beat Bo to the punch in 1952 with his single “Hambone.” Most of the track is propelled by polyrhythmic hand-slapping, but right in the middle, the drums deliver the beat in question in no uncertain terms. And like Diddley’s game-changing debut single, the lyrics are derived from the old nursery rhyme “Hush, Little Baby.”
But all that hand-slapping on the Saunders recording is part of a tradition just as deep as that of the lyric. Hambone, also known as the Juba dance, is an African American cultural phenomenon that goes all the way back to the days of slavery. Enslaved Africans brought the rhythm from their homeland to the plantations of the American South. It came from the Yoruba people of West Africa, but the Yoruban diaspora had long since extended to Cuba as well, where the beat evolved into the rumba clave crucial to Afro-Cuban music.
Back home, the rhythm would have been played on a drum. But the plantation owners, fearful of their forced laborers sending secret, subversive messages to each other through drumming, forbade the instruments. In place of the drums, the transplanted Africans developed a series of dances based around slapping their hands against each other and against other body parts. In a development not dissimilar to the way capoeira came about in Brazil, the practice of “pattin’ Juba” was born. By the time singing was added to the mix in the 19th century, the tradition was better known as hambone. And that’s where Red Saunders (alongside “Count” Otis and countless unrecorded others) comes in.
Early adopters
Hand jive was a later variation on hambone that became a hit in the 1950s partly due to Johnny Otis’s 1958 song “Willie and the Hand Jive.” Otis had released records since the late 1940s with nary a hint of the hambone beat, so it seems like a good bet that he was at least emboldened to bring it to the rock ‘n’ roll world by his buddy Bo’s success. Otis said that Bo once half-jokingly took him to task for the similarities between their songs, but Otis was having none of it: “I said to ’im, ‘You ever heard “Hambone?”’ And he said, ‘Ssssh!’”
Whatever the case, when the Checker 45 “Bo Diddley” arrived in April of 1955 it sounded utterly original to rock ‘n’ roll audiences. Bo chomps out the groove on his guitar, with a tremolo effect giving his riffs an otherworldly vibe while the drums and Jerome Green’s maracas create an ecstatic explosion of polyrhythm. It was completely different from the six-string blueprint Chuck Berry would start hashing out with his first singles just a few months later, but just as full of sensuality and wild abandon.
The song was such a sensation that covers started popping up just weeks later, from Jean Dinning’s fairly faithful rendition to a bizarre big-band mambo version by The Joe Reisman Orchestra.
Even Buddy Holly had a go at it, in one of his earliest sessions with producer Norman Petty. The cover wouldn’t be released until after Holly’s death, but Holly was very much alive when “Not Fade Away” came out in 1957. All these years later it remains one of the most beloved adaptations of the Bo Diddley beat, with The Crickets’ wordless backup vocals accentuating the rhythm and Jerry Allison providing the basis of the beat by hitting a cardboard box. Over the years, “Not Fade Away” probably inspired at least as many covers as “Bo Diddley.” In 1958 even guitar hero Duane Eddy (no stranger to tremolo himself) joined the party, with his Bo-influenced instrumental hit “Cannonball.”
Of course, the syncopated tattoo that propelled Bo’s first single wasn’t the only move in his playbook, but he became inextricably associated with it. And while the beat occupied only a small percentage of his early output, he trotted out a vital variation on it for his third single, the lust-soaked “Pretty Thing,” and again in 1957 for the spookily sexy “Mona.” Both would be covered by loads of rock and blues artists, especially in the 1960s, when his music helped change the world.
The big Bo boom
In the first half of the 1960s, both the British Invasion bands and their U.S. counterparts were wowed by the wonder of the 1950s Chess Records catalog (Chuck Berry, Muddy Waters, Howlin’ Wolf, et al.). Their covers of those tunes and their Chess-inspired originals became the next rock ‘n’ roll wave to dominate the planet. Bo Diddley’s classic sides for Chess subsidiary Checker were a crucial part of the equation.
The Beatles, The Searchers, and other British bands were playing Bo Diddley tunes on the now-legendary Hamburg club circuit of the early 60s. In February of 1964, a bunch of scruffy kids calling themselves The Rolling Stones had their first big hit (and their first U.S. single) with a gritty take on “Not Fade Away” nearly as stripped-down as the original. A couple of years later they’d slip the beat into their own “Please Go Home,” adding a little psychedelic sauce. The UK version of The Animals’ self-titled 1964 debut LP even led off with “The Story of Bo Diddley” a quirky, five-and-a-half-minute piece where Eric Burdon delivers a spoken account of Bo’s innovations and influence on ‘60s Brits, over backing that sounds just like you’d expect.
Not only is the feral fury of The Pretty Things’ 1964 debut single, “Rosalyn,” powered by a Bo Diddley beat, the band named itself after one of his songs. Van Morrison’s “Mystic Eyes” leads off the U.K. edition of his band Them’s 1965 debut album, Angry Young Them. The band had decamped to England by that time, and a stroll past a Nottingham graveyard reportedly inspired what came off like a cross between “Pretty Thing” and William Butler Yeats. Pete Townshend wrote The Who’s hambone-ready hit “Magic Bus” in 1965 when the band was cutting its first album, but they didn’t record it until 1968.
Across the Atlantic in that era, you’d find a pre-fame Harry Nilsson working as The Foto-Fi Four, writing and releasing 1964’s “Stand Up and Holler,” a novelty song about The Beatles driven by plenty of Diddley-esque drumming. The Byrds hopped on the train with the Jackie DeShannon-penned “Don’t Doubt Yourself, Babe” from their 1965 debut LP, Mr. Tambourine Man, adding some Bo tremolo to their signature 12-string sound.
With their one-off project The Strangeloves, hit songwriters/producers Bob Feldman, Richard Gottehrer, and Jerry Goldstein scored big in 1965 with the primal slam of “I Want Candy,” which would become a huge hit all over again in a 1982 Bow Wow Wow cover version. But rock wasn’t the period’s only outlet for the Bo beat, as a listen to Smokey Robinson & The Miracles’ “Mickey’s Monkey” and The Supremes’ “When the Lovelight Starts Shining Through His Eyes” makes plain. If you squint hard enough, it might even be possible to imagine a link between that groove and Motown’s signature “You Can’t Hurry Love” rhythm.
Bo’s beat goes on
The beat, as they say, goes on. Iggy Pop’s feral snarl bounced off it on The Stooges’ proto-punk classic “1969” (and again years later on his celebrated solo tune “Lust for Life”). So, the punks had no problem adopting it for their own either – see The Clash’s “Rudie Can’t Fail” and The Damned’s “Anti-Pope” for confirmation.
The same situation held true when post-punk came around. The Fall’s frontman, Mark E. Smith, a man scarcely known for tossing around compliments, once told Uncut, “All these bloody groups have tried to imitate him but no one sounds anything like him.” Naturally The Fall put their hat in the ring too, with “Dice Man,” among others.
Key New Wave inspirations like Brian Eno and David Bowie had trod the territory in the mid-‘70s (see “Blank Frank” and “Panic in Detroit,” respectively). So, when New Wave came to the forefront, a veritable Diddleyfest ensued. There was Elvis Costello’s “Lover’s Walk,” Talking Heads’ “Ruby Dear,” The Police’s “Deathwish,” The dB’s “Amplifier,” The Soft Boys’ “Wey Wey Hep Uh Hole” – The Jesus and Mary Chain even had a tune called “Bo Diddley is Jesus,” with a beat to back up their declaration.
The immortal groove has always been present on the classic rock end of the spectrum too, from Tom Petty (“A Mind with a Heart of Its Own”) and Bruce Springsteen (“She’s the One”) to REO Speedwagon (“Don’t Let Him Go”) and Guns N’ Roses (“Mr. Brownstone”).
Throughout the 70s and 80s, the Bo beat found its way into plenty of Top 40 hits too. Neil Sedaka’s “Bad Blood,” Shirley and Company’s “Shame, Shame, Shame,” U2’s “Desire,” George Michael’s “Faith,” and Ace Frehley’s cover of Hello’s “New York Groove” all brought the hand-jive bump to the US pop charts.
The influence has unavoidably extended into the 21st century. From hits like KT Tunstall’s “Black Horse and the Cherry Tree” and Rihanna’s “If It’s Lovin’ That You Want” to cutting-edge alt-pop tracks of the 2010s like Tune-Yards’ “Water Fountain” and St. Vincent’s “Bring Me Your Loves,” the old hambone rhythm never stopped stirring things up. And in some realm beyond our own, the man who made it famous is looking on and laughing his butt off.
|
|||||
correct_death_00084
|
FactBench
|
3
| 89
|
https://www.thewire.co.uk/news/38813/peggy-jones-aka-lady-bo-has-died-aged-75
|
en
|
Peggy Jones aka Lady Bo has died aged 75
|
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[
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[] | null |
Bo Diddley’s rhythm guitarist Lady Bo has died aged 75
|
en
|
The Wire Magazine - Adventures In Modern Music
|
https://www.thewire.co.uk/news/38813/peggy-jones-aka-lady-bo-has-died-aged-75
|
Bo Diddley’s rhythm guitarist Peggy Jones (aka Lady Bo) has died aged 75. Jones was born in Eden, Maryland and grew up in New York. By the time she was ten, she was studying opera and playing the ukulele. Jones attended the High School for the Performing Arts as a teenager, specialising in tap, ballet, drama, music theory and several instruments. Two years after buying her first guitar at the age of 15, she joined local group The Bop-Chords. As a member of that group she met Bo Diddley, which led to her becoming the first female guitarist to be hired by a major rock artist. She formed her own side-group The Jewels, later known as Lady Bo And The Family Jewel, while still in Diddley’s band. Her group, which stayed active into the 1990s, recorded the northern soul classic “We Got Togetherness” for MGM Records in 1966. Lady Bo also worked as a session performer on hits including Les Cooper’s “Wiggle Wibble” (featuring her guitar work) and Eric Burdon And The Animals’ “San Francisco Nights” (to which she contributed percussion). Later, Jones performed as Lady Bo And The DC Horns.
Her husband Wally Malone announced his wife’s passing via Facebook, saying, “Today is one of the saddest days of my life. My wife and partner of 47 years has been called up to that great rock & roll band in the heavens to be reunited with Bo Diddley, Jerome Green and Clifton James. The last hour and a quarter I spent by her side and the last thing I said to her was the quote above regarding Diddley and band. The other thing I added at the end of it is that band doesn’t have a bass player and for them to please hold that seat until it is my time to join them. The incredible part of this is immediately after saying this to her there was a quick sound that came from her and right then her heart stopped beating. Many of you know about the Bo Diddley connection but in case not my wife’s professional stage name is Lady Bo.”
|
|||||
correct_death_00084
|
FactBench
|
0
| 33
|
https://www.allmusic.com/deathplace/archer-fl-mz0000032253
|
en
|
Music Search, Recommendations, Videos and Reviews
|
[
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"https://b.scorecardresearch.com/p?c1=2&c2=6685975&cv=2.0&cj=1"
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[
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
|
en
|
AllMusic
|
https://www.allmusic.com/updated
| ||||||
correct_death_00084
|
FactBench
|
1
| 86
|
https://www.upi.com/topic/Bo_Diddley/
|
en
|
Bo Diddley News
|
[
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Bo Diddley News from United Press International.
|
en
|
/favico.png
|
UPI
|
https://www.upi.com/topic/Bo_Diddley/
|
Bo Diddley (December 30, 1928 – June 2, 2008), born Ellas Otha Bates, was an original and influential American rock & roll singer, guitarist, and songwriter. He was known as "The Originator" because of his key role in the transition from blues music to rock & roll, influencing a host of legendary acts including Buddy Holly, Jimi Hendrix and Eric Clapton. He introduced more insistent, driving rhythms and a hard-edged guitar sound on a wide-ranging catalog of songs. Accordingly, he was inducted into the Rock and Roll Hall of Fame and received Lifetime Achievement Awards from the Rhythm and Blues Foundation " and the National Academy of Recording Arts and Sciences (Grammy). He was also known for his technical innovations, including his trademark rectangular guitar.
Born in McComb, Mississippi, as Ellas Otha Bates, he was adopted and raised by his mother's cousin, Gussie McDaniel, whose surname he assumed, becoming Ellas McDaniel. In 1934, the McDaniel family moved to the largely black South Side area of Chicago, where the boy dropped the name Otha and became known as Ellas McDaniel, until his musical ambitions demanded that he take on a more catchy identity. In Chicago he was an active member of his local Ebenezer Baptist Church, where he studied the trombone and the violin, becoming proficient enough on the latter for the musical director to invite him to join the orchestra, with which he performed until the age of 18. He was more impressed, however, by the pulsating, rhythmic music he heard at a local Pentecostal Church. Also, he became interested in the guitar.
Further inspired musically after seeing John Lee Hooker, he supplemented his work as a carpenter and mechanic with a developing career playing on street corners with friends, including Jerome Green (c. 1934–1973), in a band called The Hipsters (later The Langley Avenue Jive Cats). During the summer of 1943–44, he played for tips at the Maxwell Street market in a band with Earl Hooker. By 1951 he was playing on the street with backing from Roosevelt Jackson (on washtub bass) and Jody Williams (whom he taught to play guitar). Jody Williams later played lead guitar on "Who Do You Love?" (1956). In 1951 he landed a regular spot at the 708 Club on Chicago's South Side, with a repertoire influenced by Louis Jordan, John Lee Hooker, and Muddy Waters.
|
||||
correct_death_00084
|
FactBench
|
3
| 5
|
https://www.latimes.com/local/obituaries/la-me-diddley3-2008jun03-story.html
|
en
|
Bo Diddley, 79; singer-songwriter’s beat marked rock ‘n’ roll
|
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[
"Chris Lee",
"www.latimes.com",
"chris-lee"
] |
2008-06-03T07:00:00+00:00
|
A primal guitar sound and stage swagger influenced music from Elvis to rap. But he never got the full rewards of a pioneer.
|
en
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/apple-touch-icon.png
|
Los Angeles Times
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https://www.latimes.com/local/obituaries/la-me-diddley3-2008jun03-story.html
|
Primal rock and blues musician Bo Diddley, who helped cast the sonic template of rock more than 50 years ago with a signature syncopated rhythm that became universally recognized as “the Bo Diddley beat,” died Monday. He was 79.
Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said.
The Rock and Roll Hall of Fame singer-songwriter, who often referred to himself as “the Originator” to emphasize his contribution to rock music, had long battled hypertension and diabetes, among other health problems, and was hospitalized for 11 days after suffering a stroke onstage in Iowa in May 2007.
In August, he had complained of dizziness and nausea during a routine medical checkup and was hospitalized with a heart attack.
Alongside Chuck Berry, Diddley is recognized as one of rock’s most influential guitarists, expanding the instrument’s vocabulary with a crunching, tremolo-laden sound. He played a rectangular “cigar box” guitar of his own design, an instantly recognizable visual counterpart to the distinctive chank-a-chank, a-chank, a-chank-chank rhythm that bore his name and provided the backbeat for his own songs, including “Bo Diddley,” “Mona” and “Who Do You Love.”
That beat -- fusing blues, R&B, Latin and African rhythms -- resurfaced over the decades in countless other rock and R&B songs, among them Buddy Holly’s “Not Fade Away,” Johnny Otis’ “Willie and the Hand Jive,” Bruce Springsteen’s “She’s the One,” David Bowie’s “Panic in Detroit,” U2’s “Desire” and George Michael’s “Faith.”
“Bo’s one of the guys who invented rock ‘n’ roll,” said Eric Burdon, lead singer of the Animals, the British Invasion band that recorded the tribute song “The Story of Bo Diddley” in 1964. “He took two cultures that existed in separate forms -- country and western and the kind of blues that used to be known as ‘race music’ -- and put them together. His beat was a jungle beat. That’s what he called it.”
Diddley’s most famous songs -- “Who Do You Love,” “Mona,” “I’m a Man” and “Bo Diddley” -- are the foundation of a huge catalog of songs that have been covered by the Rolling Stones, Eric Clapton, the Grateful Dead and the Doors and even sampled by the rap group De La Soul.
In fact, Diddley is considered by some as a pioneer of rap with his 1959 Top 20 hit “Say Man.” On that track, Diddley and maraca player Jerome Green trade jive-talking insults over a percolating beat, a precursor to rap performers’ fondness for dissing one another. “That came out of the black neighborhood way back,” Diddley told The Times in 1989. “We used to call it ‘signifying.’ ”
He has also been cited as a progenitor of hard rock and heavy metal music for his distortion-drenched sound and near-brutal manner of attacking the fret board.
“He was a wonderful, original musician who was an enormous force in music and was a big influence on the Rolling Stones,” the group’s lead singer, Mick Jagger, said Monday. “He was very generous to us in our early years and we learned a lot from him. We will never see his likes again.”
Bo Diddley was born Otha Ellas Bates in McComb, Miss., on Dec. 30, 1928. His father died shortly after his birth, and his 16-year-old mother was unable to support him. Diddley was later adopted by her first cousin, Gussie McDaniel. She legally changed his name to Ellas McDaniel and brought him north with her family to the South Side of Chicago.
There, he began studying violin at age 7 and taught himself to play guitar in the early 1940s. But it was in grammar school that the rambunctious young Ellas acquired the nickname that would provide his future marquee identity.
He circulated various explanations for the name over the years, but by most accounts, neighborhood kids started calling him “bow diddley” -- slang for “bully.” The name also recalled the diddley bow, an African single-string guitar that was seminal to blues music.
After dropping out of Foster Vocational High School in Chicago at 15, he began playing his guitar on street corners for change and later joined a small-time group called the Langley Avenue Jive Cats. Around that time, Diddley held various day jobs -- truck driver, boxcar loader, construction worker -- and boxed as a light heavyweight. But he hung up his gloves at 19 because, as he put it, he “kept getting whupped.”
By 1954 he was married and a fixture on the local music circuit when he decided to cut a two-song demo of his original songs “Uncle John” and “I’m a Man.” Although he usually adhered to the restrained blues style of his hero, Muddy Waters, Diddley based his recordings on the exultant, frenetic music he had been exposed to in the Pentecostal church as a child.
In 1955, the demo landed him a deal with Chicago’s Chess Records label, home to blues stalwarts Willie Dixon, Howlin’ Wolf and the young Chuck Berry.
According to the biography “Spinning Into Gold: The Chess Brothers and the Legendary Chess Records,” label head Leonard Chess was looking for a stage name catchier than Ellas McDaniel when a studio harmonica player blurted out, “Bo Diddley.” The name stuck, and the title for “Uncle John” was changed to “Bo Diddley.”
When the single was released that year, it shot to No. 1 on the national R&B chart. Diddley landed an appearance on “The Ed Sullivan Show” before hooking up with disc jockey Alan Freed’s rock ‘n’ roll revue that toured the country.
Diddley’s raw, distorted guitar sound connected with audiences from coast to coast. Almost immediately, the singer-songwriter began making an impression on other musicians. Upon seeing Elvis Presley perform in 1956, a reviewer for the Harlem, N.Y., newspaper the Amsterdam News said he had “copied Bo Diddley to the letter.” In 1957, Buddy Holly commandeered the Bo Diddley beat for “Not Fade Away.” Some have suggested that Holly’s horn-rimmed glasses were a nod to Diddley as well.
By the 1960s, the British Invasion threw the spotlight to an onslaught of performers from the U.K. who had been inspired by American blues musicians. In 1973, after the success of Chess’ album “The London Howlin’ Wolf Sessions,” Diddley was teamed with several key British rockers on “The London Bo Diddley Sessions” album in hopes of a career resurgence. But the album failed to duplicate the commercial success of Wolf’s outing two years earlier.
Diddley’s panache and swaggering stage presence influenced musicians on both sides of the Atlantic, among them Jagger, James Brown and Jimi Hendrix. Diddley’s early use of amplified electric-guitar effects -- including reverb, echo and distortion -- also played an important part in the evolution of the sound of rock music when they were taken to further extremes by Hendrix, the Doors and others.
Dressed head to toe in black cowboy regalia or loud plaids, Diddley had a high-kicking, hip-wiggling stage repertoire that included playing the guitar behind his head and with his teeth.
Although Diddley maintained a 76-acre property in Florida, he was rarely home. Touring extensively until last year -- he performed in Australia just a month before his stroke -- Diddley cut a striking figure, sporting a black cowboy hat and thick-rimmed glasses, coaxing space-age, effects-heavy sounds out of his rectangular Gretsch guitar.
“Bo Diddley was a music pioneer and a legend with a unique style,” blues legend B.B. King said in a statement to The Times. “We always had a good time when we played together, but his legacy will live on forever.”
Blues singer-songwriter Duke Robillard, who covered “Who Do You Love” on an album he released last year, recalls being impressed when the two performed on a bill together 11 years ago. He noted Diddley’s mad-scientist approach to tweaking his sound with a customized guitar.
“His guitar had effects and delay built into it so when he’d play a line it would repeat in time with the music,” Robillard said last year. “That’s pretty futuristic. You wouldn’t think of Bo as a guy who could do that electronically. But he had more to him than his one beat.”
Even though Diddley helped establish rock ‘n’ roll’s rhythmic bedrock, he never enjoyed the financial success or critical recognition of his two chief contemporaries, Chuck Berry and Little Richard. “Diddley remained firmly rooted in the ghetto,” author George R. White wrote in his biography “Bo Diddley: Living Legend.” “Both his music and his image were too loud, too raunchy, too black to ever cross over.”
Until the end, Diddley remained embittered about both his musical legacy and being exploited by the music industry -- he received no royalties from his classic songs until 1989 -- becoming a vocal champion of fair treatment for veteran blues and R&B musicians.
“Have I been recognized? No, no, no,” Diddley told the New York Times in 2003. “Not like I should have been. Have I been ripped off? Have I seen royalty checks? You bet I’ve been ripped off.”
When he was inducted in 1987 into the Rock and Roll Hall of Fame -- by the members of the Texas blues-rock trio ZZ Top -- he was part of the second group of rock pioneers granted entrance.
He also toured that year with Rolling Stones guitarist Ron Wood. And into Diddley’s final decade, he never faded from the public consciousness, performing at President George H.W. Bush’s inaugural gala in 1989 and the Democratic National Convention for Bill Clinton in 1992, collecting a lifetime achievement Grammy in 1998, opening for Tom Petty and the Heartbreakers on tour in 1999, performing at fundraisers for Hurricane Katrina and having his songs included on soundtracks for movies, including “Gone in Sixty Seconds,” “Ghost Rider,” “Joe Dirt” and “Wild Hogs.”
As recently as a year ago, in a display of Diddley’s determination to regain his health and return to his life on the road, his scheduled British tour was “postponed” rather than canceled.
Divorced from his fourth wife, Diddley is survived by four children, 15 grandchildren, 15 great-grandchildren, three great-great-grandchildren and a brother, the Rev. Kenneth Haynes.
A funeral is scheduled for Saturday in Gainesville, Fla., at the Showers of Blessing Harvest Center. A memorial service at the Martin Luther King Jr. Multi-Purpose Center, featuring members of Diddley’s touring band and guest musicians, will follow.
|
||
correct_death_00084
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FactBench
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3
| 70
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https://tims.blackcat.nl/messages/bo_diddley.htm
|
en
|
BO DIDDLEY
|
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Born Otha Ellas Bates, 30 December 1928, McComb, Mississippi
Died 2 June 2008, Archer, Florida
Singer, guitarist, songwriter.
"You Can’t Judge A Book By the Cover” is the title of one of Bo Diddley’s best known songs. Likewise, you can’t judge the influence of an artist by his chart statistics. Believe it or not, but Bo has been included in Wayne Jancik’s “Billboard Book of One-Hit Wonders” on the grounds that he had only one Top 40 pop hit. He played a key role in the transition from blues to rock & roll and the influence of his unique rhythm (often called “jungle music”) has been immense, both in and outside of the USA.
Born near McComb, Mississippi, as Otha Ellas Bates, he was adopted and raised by his mother’s cousin, Gussie McDaniel, whose surname he assumed. In 1934, the McDaniel family moved to the South Side of Chicago, where he dropped the Otha and became Ellas McDaniel. He learned to play the violin in the Ebenezer Baptist Sunday School Band, but he was more interested in the guitar and from the age of twelve McDaniel started experimenting with building his own guitars in various shapes. By the early 1940s he had acquired the nickname “Bo Diddley” from his fellow pupils, but he wouldn’t use that name as a musician until 1955. In 1946 he formed his first group, a trio called the Hipsters, later known as the Langley Avenue Jive Cats. They played on street corners for nickels and dimes. McDaniel mixed his music with a stint as a boxer and catch-as-catch-can work - truck driver, elevator operator, manual labourer. In 1950 maracas player Jerome Green joined his group, followed a year later by harmonica player Billy Boy Arnold. When the group got good enough to move off the streets and into the clubs, McDaniel started experimenting with new sounds and began to write his own material.
Early in 1955, the group cut a demo of two songs that McDaniel had written, “Uncle John” and “I'm A Man”. After being turned down by United and Vee-Jay, they tried to get a recording deal with Chess Records. Leonard Chess liked what he heard and called the boys back for a session on March 2, 1955. The band was augmented with Otis Spann on piano and James Bradford on bass. The inspiration for the African rhythm of "Uncle John” came from a 1952 record by the Red Saunders orchestra, “Hambone”. Leonard Chess found the lyrics of “Uncle John” too suggestive. He said it wouldn’t get any airplay unless the words were changed. It was Billy Boy Arnold’s idea to substitute the name Bo Diddley for Uncle John. “Bo Diddley” became the A-side of McDaniel’s first single and also his new stage name. Released in April 1955, “Bo Diddley”/“I’m A Man” was a double-sided smash, topping the R&B charts for two weeks. The Bo Diddley beat was born. The next two singles, “Diddley Daddy” and “Pretty Thing”, also charted. There followed a steady stream of releases on the Checker label, with a unique sound, consisting of guitars, piano, harmonica, maracas and drums. Soon his rhythm would be copied by many other artists, most successfully by Johnny Otis on “Willie and the Hand Jive”, a # 9 pop hit in 1958.
Bo didn’t have any pop hits until 1959-60, with four consecutive singles, all of which were also released in the UK (on London). His only Top 20 pop hit was “Say Man”, an exchange of insults between Bo and Jerome Green, his maracas player and a near-constant member of his backing band. In 1960 Bo Diddley moved from Chicago to Washington, D.C., where he set up one of the first home recording studios. Though Bo didn’t have many releases in the UK until the mid-1960s, he was a big influence on the British beat boom of the sixties. In 1963 he starred in a UK concert tour with the Everly Brothers and Little Richard. The up-and-coming Rolling Stones were billed as a supporting act and they copied Bo's sound on their third single, “Not Fade Away” (co-written by Buddy Holly and originally recorded by him in 1957). Bo Diddley included women in his band. Among them were Norma-Jean Wofford, also known as The Duchess, and later Peggy Jones, nicknamed Lady Bo, who played lead guitar (rare for a woman at that time).
The 1960s were Bo’s most successful (though not necessarily in chart terms) and most productive period. No less than fifteen albums were released during that decade, excluding compilations and repackaged LPs. His last chart entry was “Ooh Baby” (# 17 R&B, # 88 pop) in 1967. He stayed with Chess/Checker until 1974. Between 1974 and 1988 he recorded only sporadically, but he kept on performing, all over the world. In 1987 he was inducted into the Rock and Roll Hall of Fame. Many other awards would follow. From 1988 onwards Bo released several new albums on the L.A.-based Triple-X label. His last performance took place in 2006. Then a stroke affected the left side of his brain. Bo Diddley died on June 2, 2008, of heart failure, at his home in Archer, Florida.
Official website (with discography) : http://members.tripod.com/~Originator_2/index_2.html
Biography : George R. White, Bo Diddley : Living Legend. Chessington, Surrey : Castle Communications, 1995. 248 pages.
CDs :
Countless “Best Of” compilations are available. A good choice is “The Singles Collection” (Not Now, 2013, UK), with 40 tracks from 1955-1962 on 2 CDs. A comparable 2-CD release is “Road Runner : 1955-1962 Original Chess Masters” on HooDoo (2016). 57 tracks.
Acknowledgements : Jim Dawson & Steve Propes, Wayne Jancik, Wikipedia, the official website.
YouTube :
- Bo Diddley : https://www.youtube.com/watch?v=8XxGUIbYjmY
- I’m a Man : https://www.youtube.com/watch?v=SaC5ZKRjLUM
- Diddley Daddy : https://www.youtube.com/watch?v=hZWsCrlVPKg
- Pretty Thing : https://www.youtube.com/watch?v=ljfceJwgDwk
- Who Do You Love : https://www.youtube.com/watch?v=MAGoqMZRLB4
- Before You Accuse Me : https://www.youtube.com/watch?v=ODmg_fGxk_I
- Say Man : https://www.youtube.com/watch?v=FNfvKa4AVpc
- Road Runner : https://www.youtube.com/watch?v=ap8JtQZG73M
- You Can’t Judge A Book By the Cover : https://www.youtube.com/watch?v=Lch0o4wwGyw
Dik, December 2016
|
||||||||
correct_death_00084
|
FactBench
|
1
| 69
|
https://www.punknews.org/article/29107/inmemoriam-bo-diddley-1928-2008
|
en
|
In Memoriam: Bo Diddley (1928-2008)
|
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[
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] | null |
[
"Aubin Paul",
"Punknews.org"
] |
2008-06-02T13:00:03-04:00
|
Pioneering blues and rock'n'roll musician Bo Diddley has passed away due to heart failure. Diddley was born Ellas Bates McDaniel in McComb, Mississippi. He was inducted into the Rock 'n' Roll Hall of Fame in January 1987 and proved influential particularly for his role in bridging the gap between ...
|
en
|
https://www.punknews.org/article/29107/inmemoriam-bo-diddley-1928-2008
|
Pioneering blues and rock'n'roll musician Bo Diddley has passed away due to heart failure. Diddley was born Ellas Bates McDaniel in McComb, Mississippi. He was inducted into the Rock 'n' Roll Hall of Fame in January 1987 and proved influential particularly for his role in bridging the gap between blues and rock and roll.
His music had been covered by a diverse range of artists including Elvis Presley, The Doors, The Stooges, The Clash, Johnny Thunders, The Rolliing Stones and The Jesus and Mary Chain. Both the New York Dolls and The Lurkers recorded their own version of his song "Pills", and Diddley was the opening act on The Clash's first U.S. tour.
Our deepest condolences go out to his family and friends.
|
||||||
correct_death_00084
|
FactBench
|
0
| 25
|
https://www.nytimes.com/2008/06/09/arts/music/09diddley.html
|
en
|
Beat Lives On at a Memorial for Bo Diddley
|
[] |
[] |
[] |
[
""
] | null |
[
"Bill Dean"
] |
2008-06-09T00:00:00
|
The services in Gainesville, Fla., were part funeral, part celebration and part a lesson in the roots of American music.
|
en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
|
https://www.nytimes.com/2008/06/09/arts/music/09diddley.html
|
GAINESVILLE, Fla. In one of his best-known songs from the 1950s, Bo Diddley proclaimed “I’m a Man.” At his funeral and a celebration that followed, he was also lionized as a musical legend.
“This is the homecoming of a great man, a legend who touched many hearts around the globe,” said Karl Anderson, a local pastor and family friend who served as master of ceremonies at the funeral Saturday.
The services at the Showers of Blessings Harvest Center here included proclamations, stories and songs adding up to a scene that was part funeral, part celebration and part a lesson in the roots of American music. The crowd included relatives, friends and musicians who had played with Mr. Diddley over the decades, and as the building filled up, the choir began leading refrains of “Hey, Bo Diddley!” with the crowd responding, “Hey, Bo Diddley!” He died June 2 of complications from a stroke and heart attack last year.
The man whose real name was Ellas Bates McDaniel was also saluted earlier in the day with a parade and festival renamed after him in Archer, Fla., where he had lived for more than 20 years.
“His syncopated rhythm has been used by countless musicians since he created it in the 1950s,” said Rodney J. Long, the commissioner of Alachua County and one of several politicians who attended the funeral. “So to the family, we thank you for sharing this man with the entire world.”
The singer’s family among them 4 children, 15 grandchildren and 15 great-grandchildren sat in the front rows.
His brother, the Rev. Kenneth Haynes, of Biloxi, Miss., told of losing him once before when Mr. Diddley, at age 7, moved with Gussie McDaniel, his mother’s first cousin, to Chicago, where he later took her surname and again last Monday, when he died.
“I’ve been a fan of his since 16, 17 years of age probably one of the first records I ever bought,” said Eric Burdon, lead singer of the Animals, after the service. “I copied the jacket he was wearing for my first major TV appearance in England.”
Mr. Burdon said that the music had such an impact on him that the first song on the Animals’ debut album was “The Story of Bo Diddley,” a song credited to Mr. Burdon and Ellas McDaniel.
After the funeral, a two-hour musical celebration Saturday night at the Martin Luther King Multi-Purpose Center in Gainesville featured several musicians long associated with Mr. Diddley, including the bassist Debby Hastings, who played with him for the last 23 years and was with him in Iowa last May when he had the stroke that ended his performing career.
“We missed him,” Ms. Hastings said of performing without Mr. Diddley. “He was the rock that the roll is built on.”
|
|||||
correct_death_00084
|
FactBench
|
3
| 27
|
https://www.denverpost.com/2008/06/02/musical-legend-who-inspired-legions-dies/
|
en
|
Musical legend who inspired legions dies
|
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"The Associated Press",
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] |
2008-06-02T00:00:00
|
Musical legend who inspired legions dies
|
en
|
The Denver Post
|
https://www.denverpost.com/2008/06/02/musical-legend-who-inspired-legions-dies/
|
JACKSONVILLE, Fla. — Bo Diddley, a founding father of rock ‘n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79.
Diddley died of heart failure at his home in Archer, Fla., said spokeswoman Susan Clary. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa.
Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation.
The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, is a member of the Rock and Roll Hall of Fame, had a star on Hollywood’s Walk of Fame and received a Grammy for lifetime achievement.
In recent years, he also played for former presidents George H.W. Bush and Bill Clinton, one of his favorite politicians.
“I think Clinton is going to be the mechanic to change the motor and bad parts that are ruining the country,” Diddley told The Denver Post in 1993. “I refer to him as a good mechanic to make the system run right again.”
Golden’s Buffalo Rose and the Jazz Aspen Labor Day Festival in Snowmass have hosted Diddley on his stops in Colorado. He was forced to cancel a pair of shows in Thornton and Golden in 1990 due to a leg injury.
His last concert here was on March 2, 2007, at the Soiled Dove Underground in Lowry.
Born Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother’s cousin and took on the name Ellis McDaniel, which his wife always called him.
Bo Diddley was a stage name whose origins are a mystery. “I don’t know where the kids got it, but the kids in grammar school gave me that name,” he once said. Other times, he gave somewhat differing stories. Some experts think a possible source is a one-string instrument used in traditional blues music called a diddley bow.
His first single, “Bo Diddley,” introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as “shave and a haircut, two bits.” The B side, “I’m a Man,” with its slightly humorous take on macho pride, also became a rock standard.
The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars.
Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley’s Chess recordings “stand among the best singular recordings of the 20th century.”
Diddley’s other major songs included, “Say Man,” “You Can’t Judge a Book by Its Cover,” “Shave and a Haircut,” “Uncle John,” “Who Do You Love?” and “The Mule.” Diddley’s influence was felt on both sides of the Atlantic.
Buddy Holly borrowed the bomp-ba-bomp-bomp-bomp-bomp rhythm for his song “Not Fade Away.” The Rolling Stones’ bluesy remake of that Holly song was their first chart single in the United States in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of “I’m a Man.” Diddley was also one of the pioneers of the electric guitar, adding reverb and tremelo effects.
Growing up, Diddley said, he had no musical idols, and he wasn’t entirely pleased that others drew on his innovations.
“I don’t like to copy anybody. Everybody tries to do what I do, update it,” he said. “They copied everything I did, upgraded it, messed it up.”
Despite his success, Diddley claimed he only received a small portion of the money he made. Partly as a result, he continued to tour and record music until his stroke.
Between tours, he made his home near Gainesville in north Florida.
You know Diddley
The “Bo Diddley beat” was copied by countless artists and underscored many hits: Buddy Holly used it on “Not Fade Away,” Elvis Presley on “His Latest Flame” and Johnny Otis on “Willie and the Hand Jive.” Other artists who incorporated it were Duane Eddy (“Cannonball”), the Strangeloves (“I Want Candy”), the Who (“Magic Bus”), the Stooges (“1969”), David Bowie (“Panic in Detroit”), Bruce Springsteen (“She’s the One”), the Smiths (“How Soon Is Now?”), Guns N’ Roses (“Mr. Brownstone”) and U2 (“Desire”).
|
|||||
correct_death_00084
|
FactBench
|
1
| 45
|
http://rockturtleneck.blogspot.com/2008/06/no-mo-bo.html
|
en
|
Rock Turtleneck: No Mo' Bo: R.I.P. Bo Diddley
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
With our collective emotions an open wound following Friday's passing of Harvey Korman, now comes the death of another giant: Bo Diddley . B...
|
en
|
http://rockturtleneck.blogspot.com/favicon.ico
|
http://rockturtleneck.blogspot.com/2008/06/no-mo-bo.html
| ||||||
correct_death_00084
|
FactBench
|
2
| 10
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https://prince.org/msg/8/294366
|
en
|
Official Motown 50th anniversary thread
|
http://philspector.files.wordpress.com/2008/05/stevie-wonder1.jpg
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Start posting your favorite Motown songs (in links from IMEEM and YouTube), post your thoughts on the great music and the great artists that emerged from the streets of Detroit and beyond, and post news coverages as the 50th anniversary celebration is beginning!
Motown turns 50 while Gordy revitalizes purpose
by Scott Thorn | MLive.com
Friday January 09, 2009, 9:54 AM
Berry Gordy, Jr.: Detroit musical innovator's legacy turns 50.
Berry Gordy, Jr. created the record label that brought Detroit soul into the spotlight.
Divorced, unemployed and broke, Berry Gordy, Jr. borrowed $800 from his family to start a record label, Motown Records. 15 years later, it became the largest and most successful business owned by an African-American in the United States, despite the roadblocks of racism and pre-civil rights.
Now, 50 years later, Gordy and Universal Motown records will celebrate the iconic Deroit record label with a 50th anniversary party Monday at the Motown Historical Museum when it will be declared "Motown Day" by city and state officials.
When interviewed, surviving member of the Four Tops, Duke Fakir, had this to say about Hitsville U.S.A.
January 09, 2009: Cleveland.com: "When we would go out on the road, as soon as we'd come back, they had tracks cut by the wonderful Funk Brothers," said Fakir, 73. "We would always say, 'Wow - it's another carpet to ride on!'
"It was so easy to sing to those wonderful tracks. All you had to do was just get into the groove of that track and sail on."
Gordy "wasn't just selling records," Fakir said. "He was really creating stars.
Other surviving member of The Four Tops, Otis Williams, remembers Gordy's strict work ethic and meetings that started at 9 a.m. sharp; after that you were locked out the room, no matter who you were.
But Williams also remembers a socially progressive side of Berry Gordy as well.
January 09, 2009: Cleveland.com:In other ways, business at Motown was anything but usual, particularly Gordy's equal-opportunity hiring practices.
"I would hear a lot of guys say, 'Hey, man, being a black guy, I would hire nothing but blacks, 'cause it's a black company,' " Williams said. "Berry didn't think that way. He would hire whomever was able to do the job. Berry had Hispanics working for him, whites, Jewish people.
According to Gordy, it was all about the music and a blind passion to put out the best artists and entertainment in the area. He was wholly unaware about the risky business venture he was undertaking.
January 9, 2009: The Detroit News: "I didn't know enough about economics to know," Gordy said. "I was involved in my stuff, and I took very little interest in anything other than my creative activities and the artists I worked with. I know the times were what they were, but I guess in those days I was more concerned about the whole social situation and the racial tensions. Now I'm a lot more aware of economics and how the whole thing works."
Although Gordy sold Motown in 1988 for $61 million, this septuagenarian is far from finished in the music business and industry.
January 9, 2009: The Detroit News: Along with launching Motown 50, he's overseeing a Broadway musical based on his life and a multi-part documentary film on what he did "and how I did it" at Motown, using extensive footage filmed during Motown's heyday. He's also emerging from retirement to manage a new singer, "one of the greatest I've ever met," whom he isn't ready to reveal just yet.
This is quite a statement from the person who brought us the likes of Stevie Wonder, The Supremes, The Jackson 5, Smokey Robinson, Martha & the Vandellas, the Four Tops, the Temptations, Marvin Gaye and countless others.
But perhaps one of the longer lasting and least focused upon aspect of his career was his influence on the civil rights movement in American, whether overtly or covertly, along with the courage of his artists.
January 9, 2009: The Detroit News: "Gordy also praises the courage of his artists who traveled by bus through the South with the Motortown Revue in the middle of the volatile Civil Rights era. "They were shot at; they were the unsung heroes," Gordy said. "All I'm doing now is what I've done for the past 50 years, protect the legacy because people were trying to rewrite Motown history."
It was Motown Records that released Dr. Martin Luther King's key Civil Rights speeches on records. It was Motown groups like the Miracles, Martha and the Vandellas and the Temptations who insisted that the rope dividing their Southern audiences into black and white be taken down.
This sentiment is also echoed by Duke Fakir, one of the last surviving Four Tops, who sees even greater reason and perspective in this 50th anniversary, and why it is important that it is happening at this moment in time.
January 8, 2009: USA Today: As America prepares to inaugurate its first black president, Fakir heralds Motown's role in the long process that brought the country there. Motown's crossover success, he says, prompted white Americans to "begin to look at black America a little differently."
"It's one of the steps that took us up that ladder," he says. "Motown music was an integral part of softening the blow, little by little. And that's the part I'm really proud of."
In celebration of the 50th anniversary of Motown, a week's worth of festivities and experiences have been planned by the city and special artists. Among the events are:
January 09, 2009: Cleveland.com: "Motown: The Sound of Young America Turns 50," a new exhibit at the Rock and Roll Hall of Fame and Museum, showcases Wonder's harmonica and glittering sunglasses, a chic red dress from Mary Wilson of the Supremes and an upright bass once played by James Jamerson of Motown's legendary in-house band, the Funk Brothers, among other artifacts; A new boxed set, "Motown: The Complete No. 1's," contains every chart-topping single issued by the company, lavishly packaged in a reproduction of the Hitsville facility.
The Detroit Free Press also has a listing of the week's scheduled events, including half price admission, reminiscing of the old days by Motown stars, and a two-hour documentary, produced by Berry Gordy Jr.
Timmy84
Motown's still got us dancing in the streets
Martha and the Vandellas
Published Date: 09 January 2009
With Motown celebrating its 50th anniversary, Andy Welch talks to Martha Reeves about
the legendary label.
With a rattle of the drums and a "ba da ba-da ba baaaa" of the horn section, Martha Reeves is ingrained into the minds of millions of people.
The opening to her signature hit Dancing In The Street is as recognisable a musical motif as you're ever likely to hear.
Written in 1964 by some of Motown's finest writers – Marvin Gaye, the label's A&R director William "Mickey" Stevenson and musician Ivy Jo Hunter – the song was intended to be a slow ballad.
"Marvin sang a demo of the song before I got it," Martha explains. "He sang it all romantic, as if it were to a girl.
"It was something smooth, something intimate, but I wanted to identify with the song, so I put myself out in the street, and I imagined people dancing to music. I asked if I had permission to sing it the way I felt it, not the way Marvin had done it, and they gave me the green light."
There were technical hiccups in the recording, but had things worked out a little differently, we might not have the angry, intense vocal that's set dance floors alight ever since.
Although born in Alabama in 1941, Martha's family moved to Motown's home of Detroit shortly afterwards.
Like many of the label's biggest stars, Martha was raised in a church-going family. Her grandfather was
a minister in Detroit's Metropolitan Church, exposing her to gospel music, and while at high school, she received further vocal coaching from Abraham Silver. He also taught Florence Ballard and Mary Wilson, who would later join The Supremes, and Bobby Rogers, who went on to form The Miracles.
After singing with various groups, notably The Del-Phis who released a single on Chess records that failed to make an impact on the charts, Martha was determined to become a successful singer.
By the early '60s she found herself singing in various clubs around Detroit under the name Martha LaVaille, and after one performance in the now-famous Twenty Grand club, she was given a business card by Motown's chief talent scout William Stevenson.
"William came in and asked me to go to Hitsville USA. Motown only auditioned singers on the third Thursday of every month. There was only one studio at Hitsville. If they were auditioning, they couldn't book a session, so it had to be very organised."
Armed with nothing more than Stevenson's business card, a bus fare and instructions from her father about which stop to get off
at, Martha went along to Hitsville, but after seeing the label's humble headquarters she very nearly turned around and went back home.
"I was expecting something much grander," she says. "A voice in my head told me to carry on, though, and I went in and asked for William."
After a brief conversation, during which he told her to come back in three weeks' time, Martha indeed got some work, although it was slightly different to what she'd anticipated.
"The phone was ringing off the hook and Mickey disappeared. He said 'Answer the phone, I'll be back soon,' so I did. Four hours later, there was still no sign of him."
In his absence, Martha settled a pay dispute between some session musicians and unwittingly landed herself the job as Motown's A&R secretary. While in this role, she was responsible for auditioning the various acts that came through Hitsville's door, the most famous of which was a group then known as The Elgins (not to be confused with the other Motown band of the same name).
With a slight line-up and name change, they found enormous success as The Temptations. In 1962, Berry Gordy gave Martha and her friends Annette Beard-Helton and Rosalind Ashford-Holmes a contract of their own. They were christened Martha and the Vandellas by Reeves, reportedly after her idol Della Rees, and the hits quickly started mounting up.
Early classics include Come And Get These Memories and (Love Is Like A) Heatwave, which gave the band their first million-selling single, and established them as the label's premier act. More hits followed, including the aforementioned Dancing In The Street, Quicksand, Jimmy Mack and Nowhere To Run, which perhaps distilled their distinctive tough R&B sound better than any of their other tracks. During a 12-year tenure with Motown, the group amassed more than a dozen chart smashes, mostly written by three-man hit factory Holland-Dozier-Holland. While things didn't end nicely for Martha – she was institutionalised in the late '60s after falling victim to drug abuse and alcoholism – she looks back fondly on her time there.
"It's unbelievable to think Motown is 50," she says.
"I've lived every moment of it, and enjoyed every moment of it, too. Looking back on those songs, I feel as young as I was then."
Audiences will be able to revel in Motown on Jan 29 when How Sweet It Is, a live show featuring songs from the era, comes to York Grand Opera House. For tickets call 0844 847 2322.
Top 10 Motown tracks (not MY list, lol):
I Heard It Through The Grapevine: Marvin Gaye.
Written by Norman Whitfield and Barrett Strong, this song was first given to Smokey Robinson and The Miracles to record, but it was the 1968 version by former Motown session drummer Marvin Gaye that really shone.
You Keep Me Hangin' On: The Supremes.
Unlike many of the label's quickly recorded hits, this bittersweet tale of love gone wrong took around nine takes to perfect and marked the beginning of Diana Ross's prominence.
Uptight (Everything's Alright): Stevie Wonder.
Until this song's release in May 1966, "Little Stevie Wonder" was known as nothing more than a Ray Charles imitator and in danger of being dropped by the label. However, Uptight went straight to number two in the American charts and Wonder's transformation began.
Nowhere To Run: Martha and the Vandellas.
Featuring the gritty vocal and hard-edged brass sound that set the band apart from their peers, this is about as thrilling as Motown's output gets.
This Old Heart Of Mine (Is Weak For You): The Isley Brothers.
The Isleys' 1966 take on the classic love song was their only hit for Motown during their brief time with the label, yet remains popular today thanks to its association with the Northern Soul scene of the late '70s.
What's Going On: Marvin Gaye.
Marvin Gaye fell into a deep depression and contemplated giving up music after the death of his singing partner, Tammi Terrell, in 1970. He didn't and What's Going On, which became the label's fastest-selling single, ushered in a new phase for soul music.
Reach Out I'll Be There: The Four Tops.
With a pulsating bassline, glorious backing harmonies and part-sung, part-screamed vocal from Levi Stubbs, it's one of Motown's most dramatic songs.
Tears Of A Clown: Smokey Robinson and The Miracles.
Although it was first released in 1967, this song, written by Smokey, Stevie Wonder and Hank Cosby, made the charts in 1970 and hit number one on both sides of the Atlantic.
Ain't Too Proud To Beg: The Temptations.
When The Temptations 1965 single Get Ready flopped, it was time for a rethink. Thanks to its James Brown-esque horn section and blues-inspired vocal from David Ruffin, the song was exactly what they needed.
He Was Really Sayin' Somethin': The Velvelettes.
This classic wasn't a hit when it was released in late 1964, but the song about the lies men tell when trying to woo women, has stood the test of time.
Timmy84
Motown hits create the soundtrack for Boomers' lives
An affectionate look back at 50 years of the music that helped us weather turbulent times - and get the girl.
By Gregory Lewis | South Florida Sun-Sentinel
January 11, 2009
I used Smokey Robinson's words in my first love letter, during my puppy love days in junior high school. I got the girl. When we broke up, Jimmy Ruffin's What Becomes of the Broken-Hearted was there to soothe my pain.
Motown supplied the soundtrack of my life, and that of other Baby Boomers. In the turbulent 1960s, filled with war and anti-war protests, struggles and marches for civil rights, Motown music was a diversion from a hard, cruel reality.
It was all sweet and innocent in a way the civil rights movement and the Vietnam War were not.
Callin' out around the world
Are you ready for a brand-new beat?
Summer's here and the time is right
For dancin' in the streets
Martha and the Vandellas' call to dance in the streets in the mid-1960s gave us a sense that the times were changing and hope was coming for a race of people who had been held down. We all would dance in the streets when the revolution came.
Berry Gordy, the founder of Motown, intentionally steered his artists away from controversial issues in their music.
It was ironic because his music was changing the country.
White teenagers were buying his brand of black music, and so were young blacks.
And where it was permissible, they were dancing with each other.
In my high school, a white girl started dating a black boy.
When her father found out, he cut her long blond hair to make her look like a boy and tore down the Jackson 5 posters from her wall.
As if the Motown music had made her do it.
Don't blame it on sunshine
Don't blame it on moonlight
Don't blame it on the good times
As a teenager in the late 1960s and early 1970s, my boys and I pretended to be the Temptations, singing Cloud Nine on the street corner in front of Mr. Crank's house in Elkins, W.Va.
As times changed, so did the music. Protest anthems and politics eventually made their way to Motown vinyl.
And we identified with anti-war songs by Edwin Starr and Marvin Gaye. What's Going On arguably is the greatest black music album in history.
The innovative soundtrack, in which each song flowed into the next, dealt with the issues of the times. No album before it (or since) was as lyrical and hard-hitting.
Father, father, everybody thinks we're wrong
But who are they to judge us
Simply because our hair is long?
The Vietnam War, the environment, dope, finding God, saving the babies ... Marvin crooned about them in a passionate urging for us all to get involved.
Motown music was racing through our lives in the 1970s.
Listening to political stuff from Stevie Wonder, like You Haven't Done Nothin', aimed at the politicians who only showed up at election time. Dancing to Brick House and Slippery When Wet by The Commodores. Making love to Marvin Gaye's Let's Get It On. And, yes, still using Smokey Robinson's smooth love lines.
In 1983, I got married. We heard Stevie Wonder's Ribbon in the Sky at the wedding.
By the '80s, Motown Records had lost some of its artists. Diana Ross, Gladys Knight & the Pips, Marvin Gaye, the Four Tops, even the Temptations were singing on different labels. But those Motown ditties stayed in our heads, and on the turntables, as albums gave way to cassettes then to CDs, and new artists appeared on Motown.
The Motown soundtrack continues to be a part of my life today. Just this Christmas, my sister gave me a three-disc set of Motown hits, the best gift a music lover can get.
I exchange old-school music with my children. Sometimes one will ask about Marvin Gaye or the Supremes, and I'll whip out an album or cassette.
It does my heart good to come home and see my 15-year-old son listening to the Temptations' Beauty's Only Skin Deep.
Boyz II Men's It's So Hard to Say Goodbye to Yesterday played at my grandmother's funeral in 1990, to appease the youngsters.
And I'll take with me the memories
To be my sunshine after the rain
It's so hard to say goodbye to yesterday
This year marks the 50th anniversary of Motown.
This timeless music, which defines my generation, marches on for another generation to enjoy.
Timmy84
Profiles on Berry Gordy and the history of Motown Records:
Berry Gordy
Sweet Soul Music
Berry Gordy
Founder of Motown Records
Founded: 1959
"I didn’t want to be a big record mogul and all that stuff. I just wanted to write songs and make people laugh." - Berry Gordy
When Berry Gordy launched a small independent record label in 1959 in a two-story frame house on West Grand Boulevard in Detroit, he had no idea his dream of writing and producing his own music would spark a musical revolution. Throughout the 1950s and the early 1960s, the music industry was sharply divided along racial lines. Jazz, blues, R&B, soul and other so-called "black music" was played solely on "black" radio stations. But Gordy would change all that. His unique style of music, which he dubbed "the Sound of Young America," was the first to break the race barrier. In addition to gaining the national acceptance of black music and the well-deserved recognition of the singers and musicians behind it, Gordy’s "Motown sound" gave birth to the largest and most successful black-owned business in America.
Growing up on Detroit’s Lower East Side, Gordy’s two greatest loves were boxing and jazz. By the time he graduated from Northeastern High School in 1948, Gordy was ready to put boxing first. But after winning 15 Golden Gloves matches, his career as a pugilist was cut short when he was drafted to fight in the Korean conflict. After the war, Gordy was too old to continue in boxing, so he turned to his other love, opening a record store specializing in jazz. Unfortunately, Gordy had failed to notice that blacks in Detroit were not especially interested in jazz. They wanted to hear rock ’n’ roll. Gordy’s 3-D Record Mart went bankrupt after only two years.
After this initial failure, Gordy reluctantly accepted a job at Ford Motor Co., nailing upholstery in Lincoln automobiles. But he wasn’t about to give up his dream of a career in music. He began listening to rock ’n’ roll and wrote several songs in this style, which he tried to sell to local singers and music labels. He had some success, but his big break came when he attracted the attention of singer Jackie Wilson, who recorded Gordy’s "Reet Petite" and the now legendary "Lonely Teardrops." Both songs became instant hits, and based on their success, Gordy quit his $85-per-week job at Ford and struck out on his own as an independent producer.
But even with two hit songs under his belt, Gordy was far from a financial success. "As a writer, I had problems getting money at the time that I needed it," he explains. "I was broke even with hit records in certain cases." In one case, a New York publisher refused to pay Gordy. Advised that the cost of suing the publisher would be more than the royalties owed him, Gordy chose to cut his losses. But the incident taught him an important lesson about the music industry: If you have no control, you have no power.
To gain the control he needed, Gordy decided to start his own record company. Borrowing $800 from his family, he founded Hitsville USA in 1959. The first major hit for the fledgling label was "Way Over There" by William "Smokey" Robinson, a teenage singer Gordy had found performing on street corners. Under Gordy’s guidance, Robinson and his group, the Miracles, quickly became a sensation, attracting other young black performers to the fledgling record company. Within three years, Gordy’s stable of performers would grow to include a number of chart-toppers, including Mary Wells, the Marvelettes, Marvin Gaye, the Contours, the Prime (whose name Gordy changed to the Temptations), and a 9-year-old blind boy named Stevie Morris better known as Stevie Wonder. By 1960 Gordy had produced no fewer than five hit records and changed the name of his company to Motown, a contraction of Detroit’s nickname, Motor Town.
Scouring the nightclubs and street corners of Detroit, Gordy found a virtually limitless supply of talented, young black performers, including The Four Tops, Diana Ross and the Supremes, and Martha Reeves and the Vandellas and the Spinners, all of whom he quickly signed to Motown Records. By 1966, three out of four Motown releases where chart-topping hit singles. The company was so successful that Gordy opened Tamla-Motown Records in London in 1965. The hits continued to pile up, and Motown would go on to dominate the pop charts throughout the 1960s.
The 1970s brought a series of changes to Motown, and not all of them for the better. Gordy moved his operations from Detroit to the heart of the entertainment industry - Hollywood. Gordy branched out, establishing a motion picture division whose first film, Lady Sings the Blues, a biography of blues legend Billie Holiday starring Diana Ross, was both a commercial and critical success. Gordy also made plans to produce Broadway shows, television specials and television movies. In 1973, Gordy resigned as president of Motown Records to head Motown Industries, a huge umbrella corporation overseeing all his enterprises. But as Gordy achieved success in his other ventures, Motown Records began to lose its grip on the pop charts as most of the label’s big stars left for other companies and new talent seemed to lack that certain something Motown was famous for. The hits were not coming nearly as fast or as plentifully as they once did.
In 1988, Gordy sold Motown to MCA and investment group Boston Ventures for $61 million. That same year, he was inducted into the Rock and Roll Hall of Fame. Today, Gordy remains active in the entertainment industry, writing songs, producing records and working with the newly established Motown Historical Museum in Detroit.
Although Motown no longer dominates the charts as it once did, Gordy’s impact on the music industry cannot be overstated. Motown’s sound influenced everyone from the Beatles and the Rolling Stones to more recent chart-toppers such as Janet Jackson and Paula Abdul. A true pioneer, Gordy assembled nothing less than the rock ’n’ roll era’s most remarkable roster of artists, musicians, songwriters and producers, and in pursuing his dream, he brought two races together through music.
Spit And Polish
One of the main reasons for Motown Record’s tremendous success was the personal attention Berry Gordy paid to each Motown artist. At Gordy’s insistence, every Motown performer attended an in-house finishing school, where they learned how to comport themselves both onstage and in social situations.
Gordy also instituted an internal program of quality control, including weekly product-evaluation meetings, which he modeled after his experiences working for Ford Motor Co. At the same time, Gordy promoted a work environment that was sufficiently loose and freewheeling to foster creativity. As Gordy once explained, "Hitsville had to be an atmosphere that allowed people to experiment creatively and gave them the courage not to be afraid to make mistakes."
Thanks to this unique management approach, Motown generated hundreds of hit singles. In 1966 alone, Motown’s hit ratio - the percentage of records released that made the national charts - was an unprecedented 65 percent.
Let Freedom Ring
Although Berry Gordy is best known as a music impresario, during the late 1960s he also played a role in the Civil Rights Movement. A close friend of Dr. Martin Luther King, Gordy was so inspired by King’s "I Have a Dream" speech that he released it on album. He also formed a new record label called Black Forum, which produced recordings of other Civil Rights Movement leaders, including Elaine Brown and Stokley Carmichael.
Timmy84
From the History-of-Rock.com site:
Berry Gordy's Motown Records
Founder and owner of the Tamla-Motown family record labels, Berry Gordy, Jr., established Motown Records as one of the most important independent labels in the early '60s. Assembling an industrious staff of songwriters, producers, and musicians, Motown Records built one of the most impressive rosters of artist in the history of pop music and became the largest and most successful independent record company in the United States by 1964.
On November 28, 1929 Berry Gordy was born at Detroit's Harper Hospital. Gordy was the seventh child born to Berry and Bertha Gordy. The Gordys an ambitious middle-class family with roots in Georgia farming and retailing.. The family moved to Detroit in the 1922 with their first three children. It was here that they established a successful painting and construction business that allowed the family to purchase a commercial building on the corner of St. Antoine and Farnsworth. Berry Gordy Sr. also opened the Booker T. Washington grocery store and from which he instilled the values of frugality, discipline, family unity and hard work that were so dear to Booker T. Washington. After studying business in college, Bertha co-founded the Friendship Mutual Life Insurance Company.
Berry Gordy dropped out of school in the eleventh grade to become a professional boxer. At one time he even fought on the same card with the Brown Bomber Joe Louis at Detroit's Olympia Stadium. He ended a his respectable career as a featherweight in 1950. After serving in the Army in Korea from 1951-1953 his love for jazz caused him to open up the 3-D Record Mart - House of Jazz. To obsessed with his own love of Jazz, Berry was to stubborn to stock the Blues records the neighborhood craved. So in 1955 the store went bankrupt and was forced to close.
Berry married married Thelma Coleman and quickly had three children. It was after the closing of the record store that Gordy went to work on the assembly line at Ford's Lincoln-Mercury plant. By 1957, he had quit that job to become a professional songwriter.
The Flame Show Bar opened in 1949 and was located at the corner of John R and Canfield. The Flame was the showplace for top Black talent in Detroit during the 50s. Billie Holiday, T-Bone Walker, Wynonie Harris were a few of the many great black entertainers that appeared there. The Berry's were in charge of the photo concessions at the Flame. Sisters Gwen and Anna took the photos with brothers George and Robert developing the film. It was during this time the Al Green the club's owner invited Gordy to write songs for the artists he managed which included Jackie Wilson. Berry teaming with Roquel "Billy" Davis began writing at Green's office. Berry would eventually bring sister Gwen in and the trio would write several bestsellers "to Be Loved," "Lonely Teardrops," "That's Why (I Love You So)" and "I'll Be Satisfied" establishing themselves as hit writers. At this time Gordy started doing some of the producing.
One day Raynoma Liles and her sister Alice auditioned for Gordy. Not only did Gordy meet his next wife Raynoma, but he found a lady who could help him write hit records. Known around the company as Miss Ray, she had perfect pitch and could write lead sheets. They soon formed the Rayber Music Writing Company and for $100 they would do whatever was necessary to help a young singer make a record, be it writing, arranging, rehearsing or recording a demo. In this way they were able to find new talent. They also put together the Rayber Voices, a studio group that backed most of Motown's first acts on their early recordings.
In late 1957, Gordy had his first success with "Reet Petite," which was recorded by Detroit born Jackie Wilson, who had replaced Clyde McPhatter as lead singer of the Dominoes. The next year he wrote "Lonely Teardrops" for Wilson.
An unsuccessful audition of the Matadors for Wilson's manager Nat Tarnopol would change Gordy's life. Berry really like them a lot and told them so after the audition. This was to be the beginning of a close friendship between Gordy and the Matador's lead singer Smokey Robinson. The Matadors soon changed their name to the Miracles. Gordy managed the Miracles and produced their 1958 single "Got a Job" on the End Records label. The small royalty check he received from End along with similar small royalty checks for other hits he had co-written convinced him to form his own label Tamla Records. Originally he had wanted to call it Tammy after the Debbie Reynolds ballad, but the name had already been take.
In 1959 Gordy started his own publishing company Jobete Publishing named after his three children: Hazel Joy, Berry and Terry. If you wrote for Motown you were published by Jobete which grew to be one of the most powerful in the industry.
Gordy initially recorded R&B artists on Tamla Records. He signed Mabel John, the gospel trained sister of blues singer Little Willie John. Gordy scored a minor hit with Tamla's first release, R&B singer Marv Johnson's "Come To Me." As the record picked up steam Gordy found he could not keep up with the demands of national production and distribution and leased the master to United Artists. Later in the first year of operation he co-wrote and produced "Money," which was recorded by Barrett Strong. Not yet equipped to break a national hit "Money" was released by Anna Records which was owned by his sister Gwen and her husband Harvey Fuqua. "Money" eventually reached the number two spot on the R&B Chart. In November 1959, Gordy recorded "Bad Girl" by a young William "Smokey" Robinson and the Miracles that reached number ninety-three on the pop charts with the help of national distribution by Chess Records.
Smokey Robinson convinced Gordy that Motown should distribute its own records. In 1960, Gordy co-wrote and distributed "Shop Around" by Smokey Robinson and the Miracles, which was a number one hit and established Motown as an important independent company. By this time Gordy had set up the Motown Record Corporation, Hitsville USA and Berry Gordy Enterprises. Jobette Music was his publishing firm and management agency International Talent Management, Inc. He also set up various subsidiary labels.
Through the next four years, Gordy continued to produce hits by capitalizing on the girl group craze. In 1959, a sixteen year old girl, Mary Wells, approached Gordy with a song she had written for Jackie Wilson. Unable to write music, Wells sang the song to Gordy, who immediately signed her and released her version of "Bye, Bye, Baby," which made the Top Ten on the R&B charts in 1960. Two years later she teamed with Smokey Robinson, who now wrote and produced for Tamla label and hit with "The One Who Really Loves You," "You Beat Me To Punch," and "Two Lovers." The next year she recorded "Laughing Boy" and "Your Old Stand By." In 1964 Wells topped the charts with "My Guy."
Gordy also charted with the Marvelettes. Around 1961, one of their teachers arranged an audition with Gordy, after which he signed them and released "Please Mister Postman," which became Motown's first number one record. The next year the Marvelettes hit the charts with "Playboy," "Beachwood 4-5679," "Someday Someway," and "Strange I Know." In 1962 The group toured the South as part of the first Motortown Revue.
Encouraged by his success with the Marvelettes, Gordy recorded another Detroit girl group, Martha and the Vandellas. Martha Reeves, influenced by Clara Ward and jazz singer Billie Holiday, joined with Annette Sterling, Rosalind Ashford, and Gloria Williamson to sing as the Del-Phis while in high school and record the unsuccessful "I'll Let You Know" for Chess. In 1961 Reeves was hired as a secretary at Motown and by 1962 had convinced Gordy to record her group. The group sang backup vocals on a number of Motown hits including "Hitch Hike" and "Stubborn Kind of Fellow" by Marvin Gaye. Martha and the Vandellas hit the charts with "Come Get These Memories," followed by the million selling "Heat Wave" and "Quicksand." The next year they recorded "Dancing In the Streets" which reached near the top of the charts. Martha and the Vandellas, along with Mary Wells and the Marvelettes, identified Motown as a major source of the girl group sound.
Gordy the son of a black entrepreneur who hoped for the upward mobility of blacks, specifically groomed and cultivated streetwise teens from the streets of Detroit to make them acceptable to Mainstream America. In 1964 he hired Maxine Powell, who had operated a finishing and modeling school, to prep his performers. Powell tried to transform Motown artists into polished professionals.
A few months after adding Maxine Powell, Gordy hired choreographer Cholly Atkins, a well known dancer in the 1930s and 1940s who had performed at the Cotton Club and Savoy Ballroom, to teach these groups how to move gracefully
Atkins worked with Maurice King, who served as executive musical director. King who had arranged shows at Detroit's Flame Show Bar for years and had worked with jazz artists such as Billie Holiday and Dinah Washington, taught the Motown groups about stage patter.
By the mid-1960s, Gordy had assembled a Motown team that could take poor black youths from Detroit and teach them to talk, walk, dress as successful debutantes and debonair gentleman
Gordy combined the polished images of the Motown acts with a gospel-based music that could appeal to mainstream America. Blues and R&B always had a funky look to it back in those days, and Motown wanted to have a look that fathers and mothers would want their children to follow. They wanted to kill the imagery of liquor and drugs and how some people thought it pertained to R&B. Therefore when they reject anything that had a strong blues sound to it when choosing material for their artist.
In place of the blues and R&B, Gordy favored a distinct music grounded by an insistent pounding rhythm section, punctuated by horns and tambourines and featuring shrill, echo-laden vocals that bounced back and forth in a call and response of gospel. Building upon his experience with the girl group sound, he produced a full sound reminiscent and expanding on Phil Specter's Wall of Sound.
After he purchased 2644-2246 West Grand Boulevard in April of 1961 he placed Jobete, the sales, shipping and public relations departments in it. In January of 1962 2650-2652 West Grand Boulevard was added to house Berry and his sister Esther's offices International Talent Management. From 1965 on 2656 hosed finance department; 2662-64 purchased the next year was home to the sales and marketing. 26666-68 was bought at the same time. ITMI was moved to 2670-72 after it was bought in late 1966. Across the street, 2657 was converted into Artist Development Department in early 1966.
Aiming for the mass market, Gordy called the music "The Sound of Young America" and affixed a sign over Motown studio that read "Hitsville U.S.A."
Berry Gordy, using methods practiced in Detroit auto factories, ensured the continued success of the Supremes by assembling parts of a hit making machine, that included standardized song writing, an in house rhythm section, a quality control process, selective promotion and a family atmosphere reminiscent of the paternalism of Henry Ford in his auto plants in the early twentieth century.
The songwriting team of Brian Holland, Lamont Dozier and Eddie Holland joined forces in 1962 and perfected the formula of success that they discovered with their composition "Where Did Our Love Go."
The different singles also sound remarkably similar because of the in house rhythm section known as the Funk Brothers. In 1964, Earl Van Dyke, a former be-bop jazz pianist who toured with R&B singer Lloyd Price became the leader of the studio band. He played with drummer Benny Benjamin and bassist James Jamerson, who had backed Jackie Wilson and the Miracles. Together with a few other musicians the Funk Brothers provided the trademark percussive beat of the Motown sound
Gordy attempted to maintain consistent quality of Motown by conducting weekly meeting that scrutinized possible releases.
Gordy carefully promoted the songs that were released through means that kept the slick Motown image intact. Getting them spots on "The Ed Sullivan Show," "The Dean Martin Show," "The Tonight Show," "The Hollywood Palace," and "Orange Bowl Parade., the Copacabana in New York, exclusive Los Vegas hotels. He even had entertainers such as Sammy Davis Jr. and Broadway star Carol Channing write liner notes.
In 1960, between sets at a local club Gordy met Otis Williams when he walked into the bathroom. Elegants, the Questions, and the Distants. Renamed them the Temptations. Norm Whitfield, Smokey Robinson, Holland-Dozier-Holland formed the legendary Motown songwriting production crew.
During the mid-1960s, Gordy established a music empire that included eight record labels, a management service, a publishing company, and grossed millions of dollars a year From 1964 to 1967, Motown had 14 number one pop singles, 20 number one singles on the R&B charts, forty six more Top Fifteen pop singles and seventy-five other Top 15 R&B singles. In 1966 alone, seventy-five percent of Motown's releases made the charts.
In 1967 the Motown empire began to decline. A few days before a scheduled performance by the Supremes at the Hollywood Bowl in April, Gordy fired Florence Ballard, who had become jealous of the increasing prominent position of Diana Ross, and replaced her with Cindy Birdstrong. In July 1968, he fired David Ruffin of the Temptations and hired Dennis Edwards. Gordy quarreled about royalty rates with the the songwriting-production team of Holland-Dozier-Holland, who quit and filed suit against Motown.
Suffering the departure of H-D-H, Berry Gordy began to concentrate on the career of Diana Ross as a solo act in 1970. Maintaining the company's success with The Jacksons, Gordy moved Motown to Hollywood in 1971 and established Motown Industries, expanding to Broadway musicals and films.
During the first half of the '70s, Diana Ross was established as Motown's first all-around entertainer through her work in super clubs and films. Motown suffered defections in the '70s with Martha Reeves recording solo for other labels in 1974 and The Four Tops signing with ABC/Dunhill. Gladys Knight and The Pips recording for Buddah beginning in 1974 and, in 1975 The Jackson Five moved to Epic, as did Michael Jackson in 1978. The Miracles, without Smokey Robinson, switched to Columbia in 1977 and The Temptations went to Atlantic. However, Motown retained its position as an important independent label with the recordings of Diana Ross, Marvin Gaye, Stevie Wonder, The Commodores, and Rick James.
During the '80s Motown struggled. Diana Ross moved to RCA in 1981 and Marvin Gaye signed with Columbia in 1982. The Temptations returned as did The Four Tops by the mid-'80s. The Gordy label introduced Debarge in 1983. The company staged a successful 25th anniversary celebration in 1983 that was later broadcast on ABC-TV. Motown Productions produced Lonesome Dove for CBS-TV in 1989. However, many former employees, including Eddie Holland and members of The Vandellas and The Marvelettes sued Motown, alleging failure to pay royalties.
In 1985, Esther Gordy Edwards opened the Motown Historical Museum inside the restored Hitsville building offering tours. There were rumors that the former Motown building on Woodward would be used as a larger museum. However it still remains abandoned and boarded up as of the end of 2000.
In July 1988 Berry Gordy sold Motown Records to MCA and Boston Ventures for $61 million. Boston Ventures later bought out MCA's interest and sold Motown Records to the Dutch-based Polygram conglomerate for $325 million in 1993. In late 1994, Warner books published Gordy's self-serving biography To Be Loved.
Berry Gordy was inducted into the Rock and Roll Hall of Fame in 1988.
Timmy84
THE MIRACLES
Formed: 1955 (as the Five Chimes) in Detroit, Michigan
Other Names: The Matadors (1956-58); the Miracles (1958-66; 1973-onwards); Smokey Robinson & the Miracles (1966-1972)
Important Members: William "Smokey" Robinson, Ronald "Ronnie" White, Warren Pete Moore, Robert "Bobby" Rogers, Claudette Rogers Robinson, Marv Tarplin, William Griffin
Originally formed to become the next Drifters in 1955, the Five Chimes were originally consisted of Warren "Pete" Moore, James Grice, Clarence Dawson, Ronald White and a fifteen-year-old lead singer named William Robinson, otherwise known as "Smokey". After a year, James Grice and Clarence Dawson left and were replaced by cousins Emerson and Bobby Rogers in 1956. And that year they change their name to the Matadors.
In 1957, Emerson Rogers was drafted and he was replaced by Bobby's sister Claudette. Claudette and Smokey quickly became a romantic item and the couple married in 1959. That year, guitarist Marv Tarplin, an Atlanta, GA native, joined the group as its guitarist after Robinson met another local Detroit group, the Primettes (who later changed their name to the Supremes) when Tarplin was their guitarist. In 1957, the group was discovered by Berry Gordy after the group failed an audition with Jackie Wilson's manager. Gordy advised Robinson and his band mates on how to write songs and advised them to change their name. Robinson chose "The Miracles" and in 1958, Gordy wrote and produced the Miracles' first single, "Got a Job", an answer song to the Silhouettes' one-hit wonder "Get a Job". The song was issued on Chess Records. When Gordy formed Tamla Records in 1959, he recruited the Miracles as its first group and issued the single "Bad Girl", which also got a national release on Chess Records. The single became their first charted single peaking at #93 on the pop chart. After three regional Tamla singles flopped, the group began to put more time into polishing their live performances.
In late 1960, Robinson came to Gordy with a song he composed of a man who wants to marry his girlfriend but is rebuffed by his mother who then advises him to "shop around". Recorded under a slow blues melody, "Shop Around" was released shortly after the group's single "Way Over There" failed to chart. To make the song accessible as Tamla (now Motown) was starting to become a national independent label, Gordy had the song rearranged to a faster melody and the re-recorded version became a national release in October of 1960. By January of the new year, the song had rose to number two on the pop charts therefore starting the amazing ride the Miracles and its leader Smokey Robinson would find themselves on in the next twelve years as their success paved the way for future Motown stars.
Other hits between 1961-1962 included "Everybody's Gotta Pay Some Dues", "Ain't It Baby", "I've Been Good to You" and "I'll Try Something New". It wasn't until late-1962 when the song "You Really Got a Hold of Me", a musical answer to Sam Cooke's "Bring It On Home to Me", became a top ten hit on the pop chart in early 1963. Most of the Miracles' early hits were all written by Smokey Robinson. As time went on, band members Ronnie White, Pete Moore, Marv Tarplin and Bobby Rogers all began contributing lyrics with Robinson mainly composing the music but he also made a big contribution to the lyrics. 1963's "Mickey Monkey", however, was written and produced by Holland-Dozier-Holland, and became the Miracles' third top ten hit in the summer of 1963 as Motown's sales started burning up.
The Miracles' real golden era, however, didn't come about until the release of 1965's Going to a Go-Go. The album featured all the Miracles with the exception of Claudette contributing to lyrics and Robinson as its main producer. The album yielded four top twenty pop singles: "Tracks of My Tears", "Ooo Baby Baby", "Going to a Go-Go" and "My Girl Has Gone". The album became the only LP the Miracles released that hit the top ten of the album charts. After the name change to Smokey Robinson and the Miracles, the group continued to score top ten hits such as "Come Round Here (I'm the One You Need)", "I Second That Emotion", "Second Occasion", "If You Can Want", "Doggone Right", "Here I Go Again" and their number-one hit, 1970's "Tears of a Clown", which ironically enough was recorded in 1966 but wasn't released until England's Tamla-Motown division released it in '70 where it hit number-one. Motown issued the single in America where it pretty much repeated the success. This prompted Smokey, who was planning to leave the Miracles to become a Motown staffer (vice president), to continue recording with his old group. Their last hits with Smokey included 1971's "I Don't Blame You At All" and 1972's "We've Come Too Far to End It Now" and the Johnny Bristol-composed "I Can't Stand to See You Cry". After a farewell tour in 1972, Robinson, his wife Claudette and Marv Tarplin left the Miracles. The group would hire Billy Griffin as its new lead singer and carried on into the late 1970s where they recorded the disco hits "Do It Baby" (1974) and the number-one smash, "Love Machine" (1976).
After a reunion with Smokey and Claudette during the Motown 25 special in 1983, the Miracles retired only to re-emerge in 1993 by Ronnie White and Bobby Rogers. The group has continued to record with various members including Claudette Robinson who divorced Smokey in 1986. Smokey went on to a successful solo career though it didn't match his Miracles success.
During the original group's days, the group also recorded a series of compositions for artists such as Marvin Gaye, the Temptations, the Marvelettes, and Mary Wells finding success with all four acts in the process. Despite their contributions, when the Rock & Roll Hall of Fame announced its inductees for 1987, only Robinson was inducted. Nevertheless the group was inducted to the Vocal Group Hall of Fame and are set to get a star on the Hollywood Walk of Fame this year.
As of 2009, only Ronnie White is the only casualty from the original lineup of the Miracles.
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http://www.youtube.com/re...ry=0&page=
I didn't feel like posting separate links for videos, so click above and just play any of the classics here and if you want, post the links to your favorite Miracles tunes on this thread.
The Miracles had like 50 hits or something so that's why it's hard to post everything they did!
Timmy84
THE MARVELETTES
Formed: 1960 (as the Casinyets) in Inkster, Michigan
Other Names: The Marvels (1960-61); The Marvelettes (1961-70)
Disbanded: 1968 (not counting a 1971 album featuring Wanda Young Rogers & the Andantes)
Important Members: Gladys Horton, Georgeanna Tillman, Wanda Young (Rogers), Katherine Anderson, Juanita Cowart, Ann Bogan, Georgia Dobbins
I'll let the History-of-Rock site explain their tragic story:
Despite twenty-one R&B chart hits, twenty-three Pop hits, and Motown's first number one single, the Marvelettes were never the darlings of Motown that they aspired to be.
"They never really respected us. Berry Gordy lost the Marvelette name in a gambling game once, that's how much they cared about us. We were just nothing to them.".....Gladys Horton
Starting out 1961 as a quintet in rural Inkster, Michigan, the Marvelettes were leads Gladys Horton and Georgia Dobbins with Georgeanna Tillman, Juanita Cowart, and Katherine Anderson. Not confident in their singing abilities they called themselves the Casinyets which stood for can't sing yet.
While attending Inkster High, the five seventeen year olds entered the school's talent show where the first three prizes were auditions at Detroit's Motown Records. The girls then called the Marvels finished fourth ( though in a 1980 interview Horton said they came in first), but their teacher, Mrs. Shirley Sharpley, convinced the principal Anita Cox to let them go on the audition. It was Sharpley that prevailed upon Jon O'Den (Berry Gordy'd driver and bodyguard) to listen to the Casinyets.
The Marvelettes' early influences were the Chantels and the Shirelles, so it was no surprise when they auditioned with "He's Gone" and "I Met Him On A Sunday." The girls passed their April 1961 audition for Brian Holland and Robert Bateman with flying colors, but sent them home telling them they had to come up with an original song. Having never written anything, Dobbins asked William Garnett, a songwriting friend, if he had anything. He showed her a blues song entitled "Please Mr. Postman." In turn for writing credit she then rewrote it keeping the title and theme. She then gave it to Horton to learn and then dropped out of the group to take care of her sick mother. The group then added Wanda Young, an Inkster graduate, and went back to Motown.
"Anyway we won first prize, but until we got to Motown, it still hadn't reached my mind how important it was. We met Berry Gordy and the Miracles, and it was then I realized the potential of this meeting. We began to picture ourselves like the Supremes, who were the company's girl group"..... Gladys Horton
Gordy renamed them the Marvelettes and "Please Mr. Postman" on the Tamla label was released in the summer of 1961, around four months after the first single by Motown's other girl group, The Supremes.
On September fourth the song entered the Billboard charts and the R&B charts one week later. Slowly moving up the charts "Please Mr. Postman" it took fourteen weeks for it to finally reach the top spot.
"The first number one came to easy for us. We weren't pretty city girls from the projects like Motown's other girl group, the Supremes. We had no experience of life at all. We were naive little country girls, and we didn't know how to handle the situation. We had no idea how to behave, we didn't know what to wear. we didn't even know how to put make up. We learnt as we went along, of course, but it was very hard at first." Gladys Horton
An immediate rivalry arose between the Supremes and the country girls from Inkster.
The Marvelettes' next song "Twistin' Mr. Postman had an heavily accented blues beat. It would ultimately reach number thirty-four Pop and number thirteen R&B. The group was becoming popular on tour, but underlying tensions and internal competition was taking their toll. The Marvelettes' next record "Playboy" was a hit reaching number seven Pop and number three R&B on June 23. The Supremes were still three weeks away with their first Pop charter "Your Heart Belongs To Me."
Next what was to become their most phone number in the country, Beachwood 4-5789 in the summer of 1962 (#17 Pop, #7 R&B). Then "Strange I know" reached number forty-one Pop and number ten R&B in early 1963., but the rest of the year was a disappointment with "Locking Up My Heart" doing the best (#44 Pop, #25 R&B).
By 1965 the group was having hits again with "Too Many Fish In the Sea (#25 Pop, #15 R&B), "I'll Keep Holding On" (#34 Pop, #11 R&B), and "Don't Mess With Bill" (#7 Pop, #3 R&B), written by Smokey Robinson and with Wanda on lead.
The Marvelettes than made what turned out to be a major mistake by passing on a song brought to them in 1964 by Holland-Dozier-Holland. The writers then took "Baby Love" to the Supremes, giving them their second number one record in a row.
In 1965 Juanita left the group reportedly following a nervous breakdown. When Georgeanna fell ill with leukemia and lupus soon after and had to leave the touring, the group continued as a trio.
"There was pressure on the group. Juanita had a nervous breakdown and had to leave. She had made a silly remark on Dick Clark's show and everyone in the company was constantly teasing her about it. She really took it to heart and became very depressed. she was only 16. Georgeanna had to leave due to ill health. She was always very tired; there was something wrong with her and the doctor advised her to get off the road."
Gladys Horton
In 1967 The Marvelettes had three hits in a row with "The Hunter Gets Captured by the Game" (#13 pop, #2 R&B), "When Your Young and in Love" (#23 Pop, #9 R&B), and "My Baby Must Be a Magician" (#17 Pop, #8 R&B).
Horton then left the group to get married and Anne Bogan joined.
Their last chart record came in late 1968 with "Destination: Anywhere (#63 Pop, # 28 R&B).
In 1969 Young decided to stay in Detroit when Motown moved to Los Angeles. That was the end of the group, but four more singles were issued through 1971, the last being "Breathtaking Guy."
In the mid-80s with children grown up Glays Horton decided to reform the group. She approached Katherine and Wanda with this in mind, but neither was interested. She then found Echo Johnson and Jean McClain and the group signed with Motorcity Records. After their first Motorcity release "Holding On With Both Hands" Johnson and McClain were replaced by Jackie and Regina Hollemon.
Georgeanna Tillman married Billy Gordon of the Contours and died of sickle cell anemia in 1980. Wanda Young married Bobby Rogers of the Miracles, Katherine Anderson married Joe Schaffner, road manager for the Temptations. Gladys Horton is single and lives in Los Angeles where she cares for her handicapped son.
The Marvelettes had shot to fame with their first record and were a good live act; so why hadn't Berry Gordy promoted them? In retrospect it, it seems that Gordy had found the Marvelettes alittle to rough and ready, a little to ordinary, toreally push their beyond that of a touring group with the occassional hit. The Marvelettes had an earthy, mature way of singing, which mixed with their youthful romanticism, gave the group an unique appeal. Yet though the group's appeal has proved to be more durable than many of their contemporaries, one can see why for the upwardly mobile Berry Gordy of the '60s, the Marvelettes weren't quite "uptown enough. The mixture was was not quite right; there was too much Detroit R&B in there, and not enough New York pop.
"On top of that, we weren't getting support from the company. In fact they hated us, made fun of us, we were some kind of joke to them. They really looked down on country people lick us because we didn't have there slick city ways. Also, we couldn't sing as good as the Supremes; they had been practicing their harmonies for three or four years we had only started. But the real reason they were mad at us, I guess, was that we got a hit before the Supremes. We got Motown their first straight hit with a girl group and it was with a song we had written ourselves. Can you imagine? Motown had been grooming the Supremes for years and the Supremes had done nothing. They had writers like Smokey Robinson and each one had been trying to get a hit on the Supremes. But all of a sudden here were these little nobodies, with their own song that they wrote at number one on the charts." Gladys Horton
Link to the Marvelettes YouTube videos:
http://www.youtube.com/re...ry=0&page=
[Edited 1/10/09 17:06pm]
Timmy84
MARVIN GAYE
Real Name: Marvin Pentz Gay, Jr.
Birth Date: April 2, 1939
Birth Place: Washington, D.C.
Death Date: April 1, 1984
Death Place: Crenshaw, Los Angeles, California (gunshot wounds)
One of Motown's most consistent artists and one of the most iconic figures in the history of rhythm and blues and modern popular music, Marvin Gaye carried the tenor of our times from hypnotic R&B tunes of the early soul era of the early sixties to classic, poignant love songs he sung with the likes of Mary Wells, Diana Ross and Tammi Terrell to the socially conscious period of the early seventies, sexual freedom and discovery in the mid-seventies before arriving at songs of personal nature in the eighties, his life and career, especially in the development of the early Motown years and its later transitions, was as poignant as the tragic final months of his life.
Born in Washington, D.C., Marvin grew up the son of a Pentecostal minister and was raised under double standards raised by his father to be a God-fearing human being despite his father's own double life. Marvin rebelled in his early years and at seventeen left home for the U.S. Air Forces. After his return and because of his love for music, he formed a doo-wop group called the Marquees. First mentored by Bo Diddley, the group eventually would be mentored by Harvey Fuqua as his "new Moonglows" in 1959. In 1960, the group disbanded and Harvey signed Marvin to Detroit's Anna Records as a drummer shortly after Marvin and Harvey moved to the Motor City. After Anna was absorbed to Motown in 1961, Marvin signed a contract as a session musician. That soon led to a singing contract after Gordy overheard Marvin sing during a Christmas party. Despite Marvin's intentions to being an adult performer of standards, Marvin reluctantly agreed to record mainly R&B songs releasing 1962's "Stubborn Kind of Fellow", his fourth single and first charted hit. While "Hitch Hike", a song that came from a dance, hit the top 40, his 1963 follow-up "Pride & Joy" became his first top 10 smash sparking Marvin's early career as a Brook Benton/Sam Cooke/Ray Charles-inspired soul-pop crooner.
Collaborating with the likes of Mickey Stevenson, Holland-Dozier-Holland and Smokey Robinson, Marvin's hits included "How Sweet It Is (To Be Loved By You)", "I'll Be Doggone", "Ain't That Peculiar" and the Kim Weston duet "It Takes Two". In 1967, Marvin's career took a different turn after he began collaborating with Philadelphia's Tammi Terrell (born Thomasina Montgomery) and started working with Ashford & Simpson. The duo connected with hits such as "Ain't No Mountain High Enough" and "You're All I Need to Get By" and for a time represented romanticism in an era now besieged by the Vietnam War, assassinations of public figures and riots. However, after Terrell collapsed from a malignant brain tumor, Gaye's world came crashing down. Depressed, Marvin began using cocaine as his meditation and started to rebel from Motown's controlling machine. His recordings took a turn for less polished recordings such as the standard version of Norman Whitfield's "I Heard It Through the Grapevine", recorded in 1967 and released in 1968, the single became Marvin's biggest hit reaching number-one in America and England and becoming a top ten hit in other parts of the world, the song made Marvin an international star.
Following the 1970 death of Terrell, Marvin shunned himself from public view briefly producing works by the Originals, a former Motown background session vocal group, and also attempting a football career with the Detroit Lions. However, after the Four Tops' Renaldo Benson presented him the rough draft of a politically-themed song titled "What's Going On", Marvin changed his plans. Eventually producing and recording the song himself and writing the finished lyrics, the song also included lyrics of police brutality and racism. The song, when originally presented, was not allowed to be released. However, in January 1971, the song was released and became Motown's fastest-rising success reaching #2 on the pop chart and marking Marvin's break from Motown becoming one of its first autonomous artists. The release of its parent album, What's Going On, became a landmark moment for Marvin's career and in the history of pop music with the album presenting messages of love under a political and social context. Featuring the fellow top tenners, "Mercy Mercy Me (The Ecology)" and "Inner City Blues", the album sold over two million copies and landed Marvin a new contract the following year.
With the new contract, Marvin began to further explore his mind and in 1972 he composed the film soundtrack to the movie, Trouble Man. 1973's Let's Get It On became his first sexual concept album and sold over three million copies. Returning to live performances became a hassle for Marvin despite his popularity and he developed stage fright. He also had begun abusing cocaine more and more as years wore on. Following his divorce from Berry Gordy's sister Anna in 1976 and his marriage to Janis Hunter in 1977, Marvin recorded the Leon Ware-composed I Want You album and released the number-one disco smash, "Got to Give It Up". 1978's Here, My Dear presented a different element to Marvin's music as he presented a biographical concept album of his divorce from his first wife. In 1979, he and Janis Hunter, who had two kids together, also divorced, and in 1980, Marvin moved to Hawaii and then to London following a European concert tour. In 1981, following the rush-release of In Our Lifetime, Marvin opted out of his Motown contract. Moving to Belgium, he briefly sobered up and signed with CBS Records in 1982. The label issued his first post-Motown album, the funk and reggae-tinged Midnight Love, which featured the number-one R&B smash, "Sexual Healing", which won Marvin two Grammy Awards and became his final big hit.
Sadly, however, Marvin's demons began to overwhelm him as he returned to America and his drug addiction. Settling in his parents' home, he argued constantly with his father and told several relatives that he figured someone was out to kill him. Ironically on April 1, 1984, that "someone" would be his father, who shot and killed him during a row following the parents' own argument over a misplaced business file. Marvin died a day before his 45th birthday. His funeral was viewed by over 10,000 well-wishers including most of his Motown alum. In 1985, David Ritz released his first biography on the man, Divided Soul, which became a best-seller. Marvin was inducted to the Rock & Roll Hall of Fame in 1987.
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LIKE the Miracles and Marvelettes, Marvin had too many hits, check here:
http://www.youtube.com/re...arch_type=
Timmy84
STEVIE WONDER
Birth name: Stevland Hardaway Judkins
Real name: Stevland Hardaway Morris
Birth Date: May 13, 1950
Birth Place: Saginaw, Michigan
A prodigy by 7, a recording artist by 11 and a visionary by 21, Stevie Wonder has traveled the long road from the mini blind wunderkind from Detroit who wowed everyone with his exuberance and harmonica playing to the innovative and influential genius that he has been hailed as throughout the world. One of Motown's most intriguing and charismatic artists, his series of hit albums, concept albums and multi-talented artistry have landed Wonder on a different plateau that very few artists ever get to reach.
Born Stevland Judkins on May 13, 1950 in Saginaw, Michigan, Stevie's blindness was due to much oxygen in his incubator. As a baby, his parents Calvin Judkins and Lula Mae Hardaway fought repeatedly. Separated when Stevie was 4, Lula moved to Detroit where she re-married though she later raised her six children on her own after a while. As a kid, Stevie attended the Michigan School for the Blind and Deaf and also was a junior deacon at a local church. It was at church that Wonder began his love for music, first singing in the choir, he also played the organ and drums. Away from the church, his uncle bought him a harmonica and by age 10, Stevie had become a fan of rhythm and blues artists ranging from Ray Charles to Jackie Wilson, a Detroit native. In 1961, a musician friend of his brought Miracles member Ronnie White to his attention to see the 11-year-old musician. After auditioning for White, the singer agreed to have him audition in front of the staff at the now-rising Motown Records label. Berry Gordy later recounted that while his singing didn't impress him, his playing the harmonica convinced Gordy to sign the youngster. Before the ink laid dry, however, Gordy looked to get a name change for his youngest artist. "Steve Morris" was too plain. Finally Esther Gordy looked at the boy and said "that boy's a wonder!" And like that, the name STEVIE WONDER stuck.
Since Wonder was underage, he was looked after by many of Motown's staff, most significantly then-Motown secretary Martha Reeves. In 1962, Motown issued Wonder's first album, The Jazz Soul of Little Stevie Wonder, but the album tanked as did a follow-up album, released as a tribute to Ray Charles, Wonder's idol, who was also blind. When the Motortown Revue started tours in the fall of 1962, Wonder joined the roster. In early 1963, Wonder cut a live performance at the Apollo Theater that soon would lead its way to his first success. A song Wonder had recorded at Hitsville, the mostly instrumental dance song, "Fingertips", was played live and Wonder's enthusiasm wasn't lost with the crowd as they eventually got rowdy during Wonder's musicianship which was serious, playful and groovy at the same time. The classic bit of this live cut came when during a so-called false ending, Wonder suddenly came back on stage and yelled to the audience, "everybody say YEAH!" over and over again before playing the song again for a few minutes before finally leaving. Intrigued, Berry Gordy released a live album full of Wonder cuts titled Recorded Live: The 12-Year-Old Genius of Little Stevie Wonder and released a two-part version of "Fingertips" as a single. The buzz caught on quick and just weeks after Wonder's 13th birthday, the teenage singer had become a pop sensation after "Fingertips, Pt. 2" hit number-one on the Billboard Hot 100. It was only the second number-one single recorded by a Motown artist and the first live song to ever hit number-one on any chart. The parent album itself also peaked at number-one giving Motown its first number-one album ever and making Wonder the youngest artist ever to release a number-one single and album simultaneously, a record he still holds. He also holds the record for having the first live album to peak at number-one.
Success seemed to peak for Wonder though as 1964 came and went, after turning 14, he asked to drop the "Little" moniker from his name which was agreed after Wonder's voice went through a change. By 1965, Wonder was actually close to being dropped from the label because of his peak two years before that. Luckily for Wonder, luck finally shined when his first co-write, the pop-soul styled "Uptight" was issued as a single that May. The song rose to number-three on the pop singles chart and restored Wonder's place in Motown's roster. Afterwards, Wonder's emerging star continued to grow with hit after hit. Among the hits Wonder released between 1965 and 1971 included "Blowin' in the Wind", "A Place in the Sun", "I Was Made to Love Her", "For Once in My Life", "Shoo-Be-Doo-Be-Doo-Da-Day", "My Cherie Amour", "Yester-You, Yester-Me, Yesterday", "Signed, Sealed & Delivered", "Heaven Help Us All" and a funky cover of the Beatles' "We Can Work It Out". By this point, Wonder was also starting to emerge as a writer for other acts. One of his most famous compositions came in 1970 when a re-release of the Miracles "Tears of a Clown" hit number-one on the pop and R&B charts. In 1970, he and then-girlfriend Syreeta Wright began collaborating together on singles. Their first hit they composed was the Spinners' "It's a Shame", which was also one of Wonder's first produced songs. Much like his friend Marvin Gaye, Wonder wanted to become his own producer. In April of 1971, much to Berry Gordy's chagrin, Wonder released his first "serious" album with Where I'm Coming From, which was a Wonder/Wright produced record and featured the top ten hit "If You Really Love Me". When Wonder's contract came up for renewal upon his 21st birthday, Wonder shocked Berry Gordy by refusing to renew it allowing it to be void, due to a clause that Wonder took full advantage of.
Leaving Detroit for New York, Wonder cut two independent albums at the Hit Factory and Electric Lady Studios. Within months, Motown brought him a new contract that allowed Wonder full autonomous control of his recordings from then on and control to do whatever he wanted. Upon returning to Motown in 1972, he opened up his new production company Black Bull and in March released the first of what became his "classic period" albums with the intriguing Music of My Mind. Incorporating all the instruments, including an instrument that later dominated rock and funk music - the talk box - Music of My Mind continued Wonder's social consciousness and included the hit "Superwoman". Wonder then agreed to open for the Rolling Stones during their U.S. tour which granted him a rock-based audience. Wonder used the exposure to record and release his follow-up to Music... that October. Titled Talking Book, the album has been hailed as a cornerstone record for Stevie as it helped him to cross over completely from just being known in the black community to being embraced in rock circles for his wide range in music. The album included the funk classic "Superstition" and the pop smash "You Are the Sunshine of My Life", both of which hit number-one on the pop chart, his first number-ones since "Fingertips" over a decade before. That August, Wonder released his landmark album, Innervisions. Later that month, Wonder was involved in a car accident that landed him in a coma after receiving blunt force trauma in his scalp. After six weeks, the singer emerged from his coma and eventually made a full recovery.
The news about his accident only increased his audience as Innervisions went on to yield the hits "Living for the City", a social commentary on the inner city, racism and, in the last half of the song, homelessness; the drug-aware "Don't You Worry 'Bout a Thing", and the funk rock-based gospel anthem, "Higher Ground", later covered successfully by the Red Hot Chili Peppers. In 1974, following his accident, Wonder recorded the autobiographical Fullfillingness' First Finale which featured the angry anti-Nixon rant, "You Haven't Done Nothin'", another number-one smash, followed by the top three funk hit, "Boogie On Reggae Woman". In 1975, Wonder again negotiated with Motown after his first deal ran out, this time he asked Motown to pay him $13 million dollars for the new contract which was reluctantly agreed upon. The contract made Wonder the highest-paid artist in music at the time and helped to make his next album, 1976's Songs in the Key of Life, a highly-anticipated album. When the double LP/extra EP was released that October, Wonder didn't disappoint the contract obligations: the album became his first to enter at number-one on the pop album charts where it stayed for a whopping 14 weeks. Wonder's ambitious project added touches of salsa, gospel, blues, rock and otherworldly music into his work and the album became the final highlight of Wonder's classic years. Hits from the album would include the number-one smashes "Sir Duke" and "I Wish" and top 40 classics such as "As", "Isn't She Lovely", "Another Star" and "Knocks Me Off My Feet". Winning the Grammy for Album of the Year, it eventually sold over ten million copies in the U.S. alone. Wonder's next album wouldn't come in three years. When 1979's The Secret Life of Plants came out, it was panned for being too "complicated" and "long". Wonder restored some of the rust with 1980's Hotter than July, famed for its Bob Marley tribute, "Master Blaster Jammin'", the R&B ballad "Lately", later covered by Jodeci, and the Dr. Martin Luther King, Jr. tribute, "Happy Birthday". The latter track would play a role in King's birthday receiving a national holiday. In 1982, Wonder celebrated his most famous period by releasing the hits album, Original Musiquarium, which featured the hits "That Girl", "Do I Do" and "Ribbon in the Sky". That same year, Wonder recorded the duet, "Ebony and Ivory", which hit number-one. In 1984, Wonder scored an Academy Award-winning international smash with "I Just Called to Say I Love You" from the Woman in Red soundtrack.
Wonder's next studio release took five years before he finally released the 1985 album, In Square Circle, which featured his final number-one hit, "Part Time Lover", famous for featuring Luther Vandross humming the chorus. The album also included a famed Wonder song in his later years titled "Overjoyed". In 1987, Wonder released the album, Characters, which featured "Skeletons" and "You Will Know". Two years after that, Wonder became, at 38, the youngest artist ever to be inducted to the Rock & Roll Hall of Fame. After releasing the soundtrack to the 1991 movie, "Jungle Fever", Wonder released the 1995 album Conversation Peace, which featured "For Your Love". After the release and a subsequent successful tour that followed, Wonder basically semi-retired from the business living off well from his own royalties after his successful contract negotiations left him with full masters of his works. Wonder wouldn't release an album again until 2005 when he issued A Time 2 Love, the album went gold and was critically acclaimed upon its release. As of 2009, Motown's longest-running artist, now approaching his sixties, is on bill to release two albums that could be out later this year.
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For a series of Stevie Wonder joints, go here:
http://www.youtube.com/us...iewalker23
http://www.youtube.com/user/CrustyBrown
Or just go here to find more Stevie stuff:
http://www.youtube.com/re...ry=0&page=
[Edited 1/10/09 23:28pm]
[Edited 1/12/09 19:28pm]
Timmy84
THE SUPREMES
Formed: 1959 (as the Primettes) in Detroit, Michigan
Other Names: Diana Ross and the Supremes (1967-70); "The 1970s Supremes" (1970-77)
Disbanded: 1977
Important Members: Florence Ballard, Diana Ross, Mary Wilson, Cindy Birdsong, Jean Terrell
The most successful all-female group of all time, The Supremes emerged from Detroit's poor Brewster housing projects to become superstars in the Motown roster with their mixture of pop harmonies under a soulful groove. Their blurring racial and cultural lines helped to make Motown the label it became in the sixties. Their crossover success into TV shows, movies and performances in exclusive nightclubs paved the way for acts like the Temptations, the Four Tops and the Jackson 5 to make similar strides. With twelve number-one hits and a bevy of hit albums, the group was one of the top five biggest-selling acts of the sixties but much like some of the most iconic groups of that decade faced its share of heartache, envy, betrayal and death.
The Supremes' story starts in 1958 in Detroit where two fifteen-year-old high school students began befriending each other after a talent show. Florence Ballard and Mary Wilson became fast friends growing up in the east side of the Detroit projects. Much like the other kids in the neighborhood and around Detroit, they were fascinated by music and the emerging rock 'n' roll scene. In 1959, a manager of the locally based group The Primes, was looking for a sister group to fill for his original band and quickly found it after Florence Ballard auditioned for Paul Williams and Eddie Kendricks of the Primes. Williams hired Ballard and his girlfriend Betty McGlown alongside Mary Wilson and a fourteen-year-old ambitious schoolgirl named Diane Ross to complete the quartet, the Primettes. Performing day and night during weekdays and weekends respectively, the quartet gained a reputation with their close-knit doo-wop harmonies and the strong vocalizing of three of its members - Ballard, Wilson and Ross each had lead vocals within them. In 1960, they signed with LuPine Records but their single "Tears of Sorrow" only got as far as Detroit radio. Intrigued by the rising success of Motown Records, the group tried for an audition led by Smokey Robinson, Motown CEO Berry Gordy at first passed on the girls due to them not finishing high school. Undaunted, the girls showed up at the Motown studio day after day sometimes allowed to perform background for some of the label's regional favorites. Finally in December, Berry Gordy signed the girls to Motown. The group, which now included Barbara Martin as Betty's replacement, recorded a session of songs at Hitsville before 1961 when Gordy suggested the group's name to be changed. Choosing from a list of names Gordy had gotten from friends and family, Florence Ballard, the appointed leader of the group, chose "Supremes". Mary Wilson later recounted that she and Diane didn't like the name since it was the name of a male group. Despite objections, Gordy accepted the name and the group signed to Motown on January 15, 1961.
Between 1961 and 1963, the Supremes failed to score any major hits for Motown. In 1962, Barbara Martin left the group to get married and the remaining trio continued as such. Now known as DIANA, Ross was slowly but surely being regarded by Berry Gordy as the voice to lead the Supremes to the top. Gordy had preferred Ross' nasal pop vocals and Wilson's smoky contralto vocals over Florence's gospel/opera-based vocals in order for the group to gain a crossover fan base. Struggling to find a hit, in 1963, he had the team of Holland-Dozier-Holland, who had worked with Martha and the Vandellas, work with the girls. In early 1964, the group scored their first Top 40 hit with "When the Lovelight Starts Shining Through His Eyes". In the summer of that year, the Supremes recorded a song the Marvelettes had turned down titled "Where Did Our Love Go?" Despite their own objections, the "no-hit Supremes" as they were called, felt they had no other choice. Despite their objections, in August, the single reached number-one on the Billboard Hot 100 much to their surprise. The members recounted that when they started opening for Dick Clark's Caravan of Stars, they were regarded as "the others", but after the success of "Where Did Our Love Go", they suddenly became the hitmakers. In October, they hit number-one again with the seminal "Baby Love", and the group again hit the top in December with "Come See About Me". This marked the first time any U.S. pop group had three consecutive number-one pop singles in a row in the same year, and with the release of the Where Did Our Love Go album reaching number two in 1965, the Supremes were suddenly superstars. Florence Ballard was only 21 while Diana Ross and Mary Wilson were only 20.
The group started 1965 on top with two more number-one hits, the Motown standard "Stop! In the Name of Love" and "Back in My Arms Again". Other hits during the period would include "Nothing But Heartaches", "Love Is Like an Itching in My Heart", "My World Is Empty Without You" and the number-one smashes "I Hear a Symphony", "You Can't Hurry Love" and "You Keep Me Hangin' On". The group's breakthrough success led to them being the first African-American group to perform on the "Ed Sullivan Show" in December of 1964, in June of 1965, they became the first African-American group to perform exclusively at New York's Copacabana and in 1966, the group's popularity was such that they even had their own bread named after them and did commercials both on TV and on radio for Coca Cola. The group also became a worldwide phenomenon with hits in the UK, Switzerland, Australia and other countries. They also became popular in Asia. The Supremes' success was unique as they were among one of the first black acts whose music was universally accepted and as a group, fans easily identified the three singers in the group, which was unique at the time. In 1966, they reached one of their biggest highlights when their album, Supreme 'A Go-Go, peaked at number-one on the pop album chart making them the first African-American group to have a number-one album on the pop charts.
However with this success came tension. Other Motown acts accused Motown CEO Berry Gordy for overlooking them for the Supremes, particularly in the group's now appointed lead singer Diana Ross. The Supremes themselves were starting to show friction as a unit. Florence Ballard in particular felt upset that she was being shunned in her mind from the group she helped form. In retrospect though, Ballard's troubles started even before the group signed with Motown. At seventeen, she was raped by a family friend and friends and relatives said Ballard was never the same. Plus the inclusion of alcohol to Ballard's appetite added to tensions despite the fact that Diana Ross, contrary to popular belief, did not control anything that happened within the group, nor did she had any role in Florence Ballard's later demotion from the group in July of 1967. Berry Gordy later admitted that by then, he was trying to build Ross as a solo act. Shortly before Ballard's 1967 departure, Gordy changed the name of the group to Diana Ross & the Supremes sensing the final crack of friction to finally tear the three members' friendships apart. Before Ballard left, the group scored two more number-one hits "Love Is Here and Now You're Gone" and "The Happening" and recorded the hits "Reflections" and "In and Out of Love". With Cindy Birdsong, a former member of Patti LaBelle's Bluebelles singing group, in the lineup replacing Ballard, the Supremes entered their new phase becoming a Las Vegas headlining act. Ironically the group's trusted songwriters-producers, Holland-Dozier-Holland suddenly left Motown due to royalty disputes causing a fallout from the Supremes' hit status. Further criticism of the Supremes' well-crafted image came under fire in the black community, which accused the group for selling out.
The Supremes recovered somewhat in 1968 with the release of the socially conscious "Love Child", which regained back its black audience while its psychedelic soul-tinged music helped the song hit number-one. That year, they collaborated with the Temptations on the cover of the Dee Dee Warwick hit, "I'm Gonna Make You Love Me" and the two top groups of Motown performed together on their own TV special titled "TCB", which became a hit success. They also released a joint album together aptly titled Diana Ross & the Supremes Join the Temptations. They would release another album in 1969 and also do another special. In late 1969, rumors were confirmed that Diana Ross was about to leave the group for a solo career. Berry Gordy made the decision at that time to make what was supposed to be a Diana Ross solo single - "Someday We'll Be Together" - as a final single with the Supremes. Released in December of the year, the single became the twelfth and final number-one hit released by the Supremes despite the fact that Mary Wilson nor Cindy Birdsong were on the track. Following an engagement at Las Vegas' Hilton hotel on January 14, 1970, Diana Ross and the Supremes (Mary Wilson and Cindy Birdsong) parted and Jean Terrell was recruited as Ross' replacement.
As Ross went on to enjoy a successful solo career as both a singer and actress (winning an Oscar nod for Lady Sings the Blues in 1972), the Supremes continued to record hit singles into 1972. Among the hits included 1970's "Up the Ladder to the Roof" and "Stoned Love", their final top ten US hit, 1971's "Nathan Jones" and "River Deep - Mountain High" (which featured the Four Tops) and 1972's "Floy Joy" and "Automatically Sunshine". However after this brief period, the Supremes lineup began changing frantically. In 1972, Birdsong was on maternity leave and was replaced by Lynda Laurence to continue promotion for an album. Laurence remained in the group until 1973 but the group's "Bad Weather" failed to become a hit as did an album with rocker Jimmy Webb. Upon Birdsong's return in 1974 and Jean Terrell's departure in 1973, the Supremes performed throughout that year and into 1975 as new contracts were made for Birdsong and new lead singer Scherrie Payne. In 1975, their self-titled album was released and featured the disco hit, "He's My Man". In 1976, Birdsong left again due to friction with Mary Wilson and the group's manager, Wilson's husband Pedro Ferrer. Birdsong was then replaced by five octave range vocalist and songwriter Susaye Greene. In the fall of the year, the group recorded what would be their final hit, "I'm Gonna Let My Heart Do the Walking". By 1977, Mary Wilson wanted to embark on a solo career. That July, the group performed for the final time in London and with that, an eighteen-year-old journey had come to an end.
Some speculate the Supremes' departure had as much to do with the untimely death of original member Florence Ballard as it did Mary Wilson's dreams of a solo career. Ballard had fallen on hard times following her Supremes departure. Despite a solo effort with ABC Records, an album was shelved and by 1975, the former singer was living on ADC and welfare after losing her suburban home she had bought at the highlight of her famed period with the Supremes. However, later that year, Ballard started to piece back her life after performing at several Detroit venues. She was set to make a full-scale comeback when suddenly on February 22, 1976, she fell ill and was rushed to the hospital. Shortly after that, Ballard died of coronary thrombosis at the age of 32. Ballard's funeral in Detroit was attended by several Motown luminaries including Ballard's old Supremes band mates. In 1983, Diana Ross reunited with Mary and Cindy on a controversial performance during Motown 25. Three years later, Wilson released the best-selling autobiography, Dreamgirl: My Life as a Supreme in 1986. Two years afterwards, the Supremes (Diana, Mary and Flo) were inducted to the Rock & Roll Hall of Fame. Despite tensions and so-called diva tantrums, the legacy of the Supremes remain as strong as it did when the group's hits were first recorded all those years ago in Detroit.
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Go find your favorite SUPREMES tunes here:
http://www.youtube.com/re...ry=0&page=
Timmy84
MARTHA AND THE VANDELLAS
Formed: 1960 (as the Del-Phis) in Detroit, Michigan
Other Names: The Vels, Martha Reeves & the Vandellas
Disbanded: 1972
Important Members: Martha Reeves, Annette Beard, Rosalind "Roz" Ashford, Betty Kelly, Lois Reeves
Formed by four neighboring girls from Detroit's Van Dyke streets, the original members of the Del-Phis each attended Northwestern High School. The eldest of the group, Martha Rose Reeves, born in Alabama in 1941 and was moved to Detroit shortly thereafter, joined a selection of groups before forming the Del-Phis with Gloria Williams, Annette Beard and Rosalind Ashford. The group originally had Williams as lead singer though Reeves was considered a secondary lead singer. Their first single, "My Baby Won't Come Back", for example, included Reeves on lead vocals. The group changed their name to the Vels before signing a contract with Tri-Phi Records where they recorded the singles "There He Is" and "You'll Never Cherish a Love So True". In 1961, the group took a break while Martha Reeves look for her big break elsewhere singing under the psuedonym Martha LaVaille. A Motown staffer, Mickey Stevenson noticed Reeves singing at Detroit's Twenty Grand club and invited her to audition for the label. An excited Reeves quit her daily job and headed to Motown the next day for an audition only to find herself stumped when Stevenson told her that auditions held on Thursdays, she had showed up on a Tuesday. Nevertheless, Stevenson allowed Reeves to overlook his businesses while he attended elsewhere. Reeves technically became Stevenson's secretary and soon would hold A&R meetings with potential auditioned acts. In 1962, Stevenson needed singers to back Marvin Gaye up on a series of tracks, Reeves called on her friends from the Vels and the group reunited to sing background on "Stubborn Kind of Fellow", a month later the band recorded a demo version of a purported Mary Wells single, "I Have to Let Him Go", the single got such a strong buzz however that instead of giving it to Wells, Berry Gordy suddenly wanted the girls in his label. Before they could sign, Gloria Williams suddenly left the group. The remade trio renamed themselves Martha and the Vandellas. "Vandella" was named after Van Dyke street in Detroit and after Detroit-based jazz singer Della Reese.
In 1963, the group scored a landmark hit with the first-ever Holland-Dozier-Holland composition "Come Get These Memories". The song's unusual laid-back groove and pop-melded harmonies was a departure from the group's more bluesy recordings and it became their first charted hit reaching number 29 on the pop chart and number 6 on the R&B chart. Their second HDH collaboration, "(Love Is Like A) Heat Wave" became a cornerstone record for them as that song reached number 4 on the Billboard Hot 100 winning the group a Grammy nomination. A third song, "Quicksand", would reach the top ten before the year was out. With three consecutive top 40 singles, Martha and the Vandellas replaced the Marvelettes as the top female group of the label. By the summer of 1964, Martha and the Vandellas would hit their stride in more ways than one after Marvin Gaye and Mickey Stevenson wrote a song they had intended to go to Kim Weston. They had Martha record the song as a demo for Weston. However, when they heard the playback of the Martha and the Vandellas version, the group got to keep their song and it would be that song that would become their signature song. That song was "Dancing in the Street", a groovy dance song with poignant lyrics that reflected in some ways the uprising of the civil rights movement and in another a pop song aimed at a troubling public to forget their problems and dance their troubles away. The song rose to number two and also became an international hit.
After modest top 40 success with "Wild One", the group hit the top ten again with "Nowhere to Run", an HDH collaboration. Other hits that emerge would include "My Baby Loves Me", "You've Been in Love Too Long", "Love (Makes Me Do Foolish Things)", "I'm Ready for Love" and the UK favorite, "Third Finger, Left Hand". By this point, Annette Beard had already retired from show business, Betty Kelly had replaced her in 1964. In 1967, the group hit the top ten a sixth time with "Jimmy Mack", a song originally recorded two years prior. The song also hit number 1 on the R&B chart. After the release of "Honey Chile" in 1968, Betty Kelly left the Vandellas and was replaced by Martha's kid sister Lois. In 1969, the Vandellas' career stifled following Martha Reeves' nervous breakdown which led her to a mental hospital for treatment. Eventually recovering by 1970, Reeves recruited Sandra Tilley after Rosalind Ashford left the group. This lineup of the Reeves sisters and Tilley carried on until 1972. However, the Vandellas were no longer granted chart success. Despite attempts to curve their sound for the then current "Motown sound" by the Jackson 5's Corporation team releasing the modest hit "Bless You", it was too little too late.
In December, Martha Reeves & the Vandellas promptly disbanded after a final performance at Detroit's Cobol Hall. In 1973, Reeves was working on a solo career with Motown but then decided against it after Motown moved its headquarters to L.A. Reeves opted out of her contract and signed with MCA Records releasing her self-titled debut in 1974. Despite the best efforts by rock producer Richard Perry, the album tanked as did three follow-ups Reeves released on Arista and Fantasy Records respectively. In recent years, Reeves has become something of a politician residing as a city council member in the city of Detroit. Her sisters Lois and Delphine perform with Martha sometimes being referred to as "Martha and the Vandellas" though members Rosalind Ashford and Annette Beard have since been performing as "The Original Vandellas". Sandra Tilley died of a brain aneurysm in 1981 at age 36 while Betty Kelly retired from show business in the 1980s. Martha and the Vandellas were inducted to the Rock & Roll Hall of Fame in 1995.
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DANCING IN THE STREET:
http://www.youtube.com/wa...zhNSr7shNk
HEAT WAVE:
http://www.youtube.com/wa...re=related
COME AND GET THESE MEMORIES:
http://www.youtube.com/wa...fc_Xn4PkNM
QUICKSAND:
http://www.youtube.com/wa...OeUO66Xt54
NOWHERE TO RUN:
http://www.youtube.com/wa...1-fPQgRGvY
JIMMY MACK:
http://www.youtube.com/wa...Jq7KVXzSaQ
MY BABY LOVES ME:
http://www.youtube.com/wa...egqZ3fpyuY
LOVE (MAKES ME DO FOOLISH THINGS):
http://www.youtube.com/wa...s6qFNe14RY
I SHOULD BE PROUD:
http://www.youtube.com/wa...4zzyDKfbAc
BLESS YOU:
http://www.youtube.com/wa...o_4OyRyJnU
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correct_death_00084
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FactBench
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https://www.newmexicomusic.org/2015/11/16/diddley-bo/
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en
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Diddley, Bo – New Mexico Music Commission
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2015-11-16T00:00:00
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https://www.newmexicomusic.org/2015/11/16/diddley-bo/
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Bo Diddley ~ Los Lunas
Bo (December 30, 1928 – June 2, 2008), born Ellas Otha Bates and changed as a child to Ellas McDaniel, was an R&B and Chicago Blues vocalist and guitarist. In addition, he was a songwriter and music producer, usually as Ellas McDaniel, and had cameo appearances in movies. He was nicknamed The Originator because of his key role in the transition from the blues to rock and roll, and rock, and influenced a host of acts, including Elvis Presley, Buddy Holly, the Beatles, the Rolling Stones, the Yardbirds, Eric Clapton, the Who, the Animals, Pink Floyd, the Velvet Underground, Jimi Hendrix, Parliament Funkadelic, and the Jesus and Mary Chain.
Diddley lived 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 purchased and donated three highway-patrol pursuit-cars.
He instigated a constant driving rhythm and biting electric guitar sound which he applied to a wide range of songs. His use of African rhythms and a signature beat, a simple five-accent clave rhythm, is a cornerstone of hip hop, rock, and pop. In recognition of his achievements Bo Diddley was inducted into the Rock and Roll Hall of Fame and received Lifetime Achievement Awards from the Rhythm and Blues Foundation and a Grammy Award from the National Academy of Recording Arts and Sciences. He is also recognised for his technical innovations, including his trademark rectangular guitar.
Early life and career
Born in McComb, Mississippi, as Ellas Otha Bates, he was adopted and raised by his mother’s cousin, Gussie McDaniel, whose surname he assumed. In 1934, the McDaniel family moved to the largely black South Side area of Chicago, where the young Ellas dropped the name Otha and became simply Ellas McDaniel. In Chicago, he was an active member of the local Ebenezer Baptist Church, where he studied the trombone and the violin, becoming proficient enough on the violin for the musical director to invite him to join the orchestra, with which he performed until the age of 18. However, he was more taken by the pulsating, rhythmic music he heard at a local Pentecostal Church, and became interested in the guitar.
Inspired by a John Lee Hooker performance, he supplemented his work as a carpenter and mechanic by playing on street corners with friends, including Jerome Green (c. 1934–1973), in the Hipsters band, later renamed the Langley Avenue Jive Cats. Green would become a near-constant member of McDaniel’s backing band, the two often trading joking insults with each other during live shows. During the summer of 1943–1944, he played at the Maxwell Street market in a band with Earl Hooker. By 1951 he was playing on the street with backing from Roosevelt Jackson on washtub bass, and Jody Williams, whom he had taught to play the guitar. Williams later played lead guitar on “Who Do You Love?” (1956).
In 1951 he landed a regular spot at the 708 Club on Chicago’s South Side,with a repertoire influenced by Louis Jordan, John Lee Hooker, and Muddy Waters. 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 number one R&B hit.
Origins of stage name
The origin of the Bo Diddley stage name is unclear. McDaniel claimed that his peers gave him the name, which he suspected to be an insult.He also said that the name first belonged to a singer his adoptive mother knew, but harmonicist Billy Boy Arnold said that it was a local comedian’s name, which Leonard Chess adopted as McDaniel’s stage name and also for the title of his first single. Guitar craftsman Ed Roman stated that it was McDaniel’s nickname as a Golden Gloves boxer.
A “diddley bow” is a homemade, American single-string instrument played mainly by workers in the southern fields. It probably has influences from the West African coast. In the American slang term, bo diddly, bo is an intensifier and diddly is a truncation of diddly squat, which means absolutely nothing.
Success in the 1950s and 1960s
On November 20, 1955, Bo Diddley appeared on the hugely popular Ed Sullivan TV show. The show asked him to sing “Sixteen Tons”, but instead he sang “Bo Diddley”. Ed Sullivan was infuriated and banned Bo Diddley from his show. He also said that Bo Diddley wouldn’t last six months. The request came about because the show’s staff heard Bo Diddley casually singing “Sixteen Tons” in the dressing room. Bo Diddley was a great storyteller but the slant tended to vary. He said that when he saw “Bo Diddley” on the cue-card, he thought he was to perform two songs: “Bo Diddley” and “Sixteen Tons”. Chess included Diddley’s “Sixteen Tons” on the 1960 album Bo Diddley Is a Gunslinger.
Bo Diddley’s single hits continued in the 1950s and 1960s: “Pretty Thing” (1956), “Say Man” (1959), and “You Can’t Judge a Book by the Cover” (1962). He also released a string of albums: Bo Diddley Is a Gunslinger and Have Guitar, Will Travel. These bolstered his self-invented legend. Between 1958 and 1963, Checker Records released eleven full-length Bo Diddley albums. Although, in the 1960s, he broke through as a crossover artist with white audiences, appearing at the Alan Freed concerts for example, he rarely aimed his compositions at teenagers. The album title Surfing with Bo Diddley boasted his influence on surf guitarists rather than surfing per se.
In 1963, Bo Diddley starred in a UK concert tour with the Everly Brothers and Little Richard. The up-and-coming Rolling Stones, were billed as a supporting act.
Bo Diddley wrote many songs for himself, but he also wrote for others. In 1956 he and guitarist Jody Williams co-wrote the pioneering pop song “Love Is Strange”, a hit for Mickey & Sylvia in 1957. He also wrote “Mama (Can I Go Out)” which would become a minor hit for pioneering Rockabilly singer Jo Ann Campbell who performed the song in the 1959 Rock & Roll film Go Johnny Go.
Bo Diddley included women in his band: Norma-Jean Wofford, also known as “The Duchess”; Gloria Jolivet; Peggy Jones, also known as “Lady Bo”, was a rare, for the time, female lead guitarist; Cornelia Redmond, also known as Cookie; Debby Hastings, who led his band for the final 25 years. After moving from Chicago to Washington, D.C., he set up one of the first home recording studios where he not only recorded the album Bo Diddley Is a Gunslinger but produced and recorded his valet, Marvin Gaye. The Bo Diddley-penned, “Wyatt Earp” was Gaye’s first single. It was released on Okeh Records, after Chess turned it down. During this time, Moonglows’ founder Harvey Fuqua sang backing vocals on many of Diddley’s home recordings. Gaye later joined the Moonglows and followed them to Motown.
Later years
Over the decades, Bo Diddley’s performing 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.
In the late 1970s, Diddley 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 and Florida, living the last 13 years of his life in Archer, Florida, a small farming town near Gainesville.
In 1979, he appeared as an opening act for the Clash on their US tour; and in Legends of Guitar (filmed live in Spain, 1991) with B.B. King, Les Paul, Albert Collins, George Benson, among others. He 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.
Diddley’s final vocal performance on a studio album was with the band Munkeez Strikin’ Matchiz, on their 2005 album BananAtomic Mass. He co-wrote the song “Wreck it”, and was joined by Parliament-Funkadelic keyboardist Bernie Worrell and rapper Chuck D of Public Enemy.
His final guitar performance on a studio album was with the New York Dolls on their 2006 album One Day It Will Please Us to Remember Even This. Bo contributed guitar work to the song “Seventeen”, which was included as a Bonus Track on the limited-edition version of the disc.
Legal battle
Bo Diddley fought sportswear brand Nike in his later years over alleged copyright infringement, specifically over the use of his likeness and the slogan “YOU DON’T KNOW DIDDLEY.” In 1989, Bo had worked with Nike on a commercial in the “Bo Knows” campaign, and had entered a licensing agreement with the company. However, the agreement ended in 1991. When Nike began selling the apparel again in 1999, Diddley did not feel that Nike should continue to use the slogan or his likeness. Despite the fact that lawyers for both parties could not come to a renewed legal arrangement, Nike allegedly continued marketing the apparel, and ignored cease and desist orders. The lawsuit was filed by Diddley’s attorney, John Rosenberg, in Manhattan Federal Court.
Illness
On May 13, 2007, Diddley was admitted to intensive care in Creighton University Medical Center in Omaha, Nebraska, following a stroke after a concert the previous day in Council Bluffs, Iowa. Starting the show, he had complained that he did not feel well. He referred to smoke from the wildfires that were ravaging South Georgia and blowing south to the area near his home in Archer, Florida. Nonetheless, he delivered an energetic performance to an enthusiastic crowd. The next day, as Diddley was heading back home, he seemed dazed and confused at the airport. His manager, Margo Lewis, called 911 and airport security and Diddley was immediately taken by ambulance to Creighton University Medical Center and admitted to the Intensive-care unit, where he stayed for several days. After tests, it was confirmed that he had suffered a stroke. Diddley had a history of hypertension and diabetes, and the stroke affected the left side of his brain, causing receptive and expressive aphasia (speech impairment). The stroke was followed by a heart attack, which he suffered in Gainesville, Florida, on August 28, 2007.
While recovering from the stroke and heart attack, Diddley came back to his home town of McComb, Mississippi, in early November 2007, for the unveiling of a plaque devoted to him on the Mississippi Blues Trail. This marked his achievements and noted that he was “acclaimed as a founder of rock-and-roll.” He was not supposed to perform, but as he listened to the music of local musician Jesse Robinson, who sang a song written for this occasion, Robinson sensed that Bo wanted to perform and handed him a microphone. That was the first and last time that Bo Diddley performed publicly after suffering a stroke.
Death
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 am 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.'”
His funeral, a four-hour “homegoing” service, took place on June 7, 2008 at Showers of Blessings Church in Gainesville, Florida, and kept in tune with the vibrant spirit of Bo Diddley’s life and career. The many in attendance chanted “Hey Bo Diddley” as a gospel band played the legend’s music. A number of notable musicians sent flowers, including: George Thorogood, Tom Petty and Jerry Lee Lewis. Little Richard, who had been asking his audiences to pray for Bo Diddley throughout his illness, had to fulfil concert commitments in Westbury and New York City the weekend of the funeral. He took time at both concerts to remember his friend of a half-century, performing Bo’s namesake tune in his honor.
After the funeral service, a tribute concert was held at the Martin Luther King Center, also in Gainesville, and featured performances by his son and daughter, Anthony McDaniel and Evelyn Cooper, as well as long-time background vocalist Gloria Jolivet; co-producer and guitarist Scott “Skyntyte” Free; Bo’s touring band the Debby Hastings Band; and guest-artist Eric Burdon.
In the days following his death, tributes were paid to Diddley by then-President George W. Bush, the United States House of Representatives, and an uncounted number of musicians and performers, including Eric Burdon, Elvis Costello, Ronnie Hawkins, Mick Jagger, B. B. King, Tom Petty, Robert Plant, Bonnie Raitt, George Thorogood, Robert Randolph and the Family Band, Eric Clapton and Ronnie Wood. He was posthumously awarded a Doctor of Fine Arts degree by the University of Florida for his influence on American popular music. In its “People in America” radio series about influential people in American history, the Voice of America radio service paid tribute to him, describing how “his influence was so widespread that it is hard to imagine what rock and roll would have sounded like without him.” Mick Jagger stated that, “he was a wonderful, original musician who was an enormous force in music and was a big influence on the Rolling Stones. He was very generous to us in our early years and we learned a lot from him”. Jagger also praised the late star as a one-of-a-kind musician, adding, “We will never see his like again”.
The documentary film Cheat You Fair: The Story of Maxwell Street by director Phil Ranstrom features Bo Diddley’s last on-camera interview.
In November 2009, the guitar used by Diddley in his final stage performance sold for $60,000 at auction.
Accolades
Bo Diddley achieved numerous accolades in recognition of his significant role as one of the founding fathers of rock and roll.
1986: inducted into the Washington Area Music Association’s Hall of Fame.
1987: inducted the Rock and Roll Hall of Fame and the Rockabilly Hall of Fame.
1990: Lifetime Achievement Award from Guitar Player magazine.
1998: Lifetime Achievement Awards from the Rhythm and Blues Foundation and the National Academy of Recording Arts and Sciences.
1999: His 1955 recording of his song “Bo Diddley” inducted into the Grammy Hall of Fame as a recording of lasting qualitative or historical significance.
2000: Inducted into the Mississippi Musicians Hall of Fame and into the North Florida Music Association’s Hall of Fame.
2002: Pioneer in Entertainment Award from the National Association of Black Owned Broadcasters
2002: Bo Diddley was honored as one of the first BMI Icons at the 50th annual BMI Pop Awards. He was presented the award along with BMI affiliates Chuck Berry and Little Richard.
2008: Although confirmed before his death in June 2008, an honorary degree was posthumously conferred upon Diddley by the University of Florida in August 2008.
2009: Florida’s Secretary of State announces Bo’s induction into the Florida Artists Hall of Fame (induction to occur during Florida Heritage Month, March 2010).
2010: Bo Diddley was inducted into the Hit Parade Hall of Fame.
In 2003, U.S. Representative John Conyers paid tribute to Bo Diddley in the United States House of Representatives describing him as “one of the true pioneers of rock and roll, who has influenced generations”.
In 2004, Mickey and Sylvia’s 1956 recording of “Love Is Strange” (a song first recorded by Diddley but not released until a year before his death) was inducted into the Grammy Hall of Fame as a recording of qualitative or historical significance, and he was inducted into the Blues Foundation’s Blues Hall of Fame. In 2004, Rolling Stone ranked him No. 20 on their list of the 100 Greatest Artists of All Time.
In 2005, Bo Diddley celebrated his 50th anniversary in music with successful tours of Australia and Europe, and with coast-to-coast shows across North America. He performed his song “Bo Diddley” with Eric Clapton, Robbie Robertson and longtime bassist and musical director Debby Hastings at the Rock and Roll Hall of Fame’s 20th annual induction ceremony. In the UK, Uncut magazine included his 1957 debut album “Bo Diddley” in its listing of the ‘100 Music, Movie & TV Moments That Have Changed The World’.
In 2006, Bo Diddley participated as the headliner of a grassroots organized fundraiser concert, to benefit the town of Ocean Springs, Mississippi, which had been devastated by Hurricane Katrina. The “Florida Keys for Katrina Relief” had originally been set for October 23, 2005, when Hurricane Wilma barreled through the Florida Keys on October 24, causing flooding and economic mayhem. In January 2006, the Florida Keys had recovered enough to host the fundraising concert to benefit the more hard-hit community of Ocean Springs. When asked about the fundraiser Bo Diddley stated, “This is the United States of America. We believe in helping one another”. In an interview with Holger Petersen, on Saturday Night Blues on CBC Radio in the fall of 2006 Bo Diddley commented about the racism that existed in the music industry establishment during the early part of his career, that saw him deprived of royalties from the most successful part of his career.
Bo Diddley performed a number of shows around the country in 2005 and 2006 with the fellow Rock and Roll Hall of Famer Johnnie Johnson Band, featuring Johnson on keyboards, Richard Hunt on drums and Gus Thornton on bass. From 1985 until he died, his touring band consisted of Debby Hastings (bassist and musical director); Jim Satten (guitarist, band leader, musical director); Scott “Skyntyte” Free, Nunzio Signore or Frank Daley (guitar); Tom Major, Dave Johnson, Yoshi Shimada, Mike Fink or Sandy Gennaro (drums); John Margolis, Dave Keys or Bo’s personal manager, Margo Lewis (keyboards).
Bo Diddley was honored by the Mississippi Blues Commission with a Mississippi Blues Trail historic marker placed in McComb, his birthplace, in recognition of his enormous contribution to the development of the blues in Mississippi. On June 5, 2009 the city of Gainesville, Florida, officially renamed and dedicated its downtown plaza the Bo Diddley Community Plaza. The plaza was the site of many benefit concerts at which Bo Diddley performed during his lifetime to raise awareness about the plight of the homeless in Alachua County, and to raise money for local charities, as well as the Red Cross.
The Bo Diddley beat
Bo Diddley is well known for the Bo Diddley beat, which is essentially the clave rhythm, and one of the most common bell patterns found in sub-Saharan African music traditions. Tamlyn found this rhythm in 13 rhythm and blues recordings made in the years 1944–55, including two by Johnny Otis from 1948.
Bo Diddley has given different accounts regarding how he began to use this rhythm. Sublette asserts: “In the context of the time, and especially those maracas [heard on the record], ‘Bo Diddley’ has to be understood as a Latin-tinged record. A rejected cut recorded at the same session was titled only ‘Rhumba’ on the track sheets.” The Bo Diddley beat is 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” rhythm, 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 similar syncopation “Hambone”, was cut by Red Saunders’ Orchestra with The Hambone Kids. In 1944, “Rum and Coca Cola”, containing the Bo Diddley beat, was recorded by the Andrews Sisters and later Buddy Holly’s “Not Fade Away” (1957) and Them’s “Mystic Eyes” (1965) used the beat.
In its simplest form, the Bo Diddley beat can be counted out as either a one-bar, or a two-bar phrase. Here is the count as a one-bar phrase: One e and ah, two e and ah, three e and ah, four e and ah. The bolded counts are the clave rhythm.
Many 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 odd-shaped guitars custom-made for him by other manufacturers throughout the years, most notably the “Cadillac” and the rectangular “Turbo 5-speed” (with built-in envelope filter, flanger and delay) designs made by Tom Holmes (who also made guitars for ZZ Top’s Billy Gibbons, among others), Diddley fashioned the square 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 twelve-bar blues.
He often created lyrics as witty and humorous adaptations of folk music themes. The song “Bo Diddley” was based on the African American clapping rhyme “Hambone” (which in turn was based on the lullaby “Hush Little Baby”). Likewise, “Hey Bo Diddley” is based on the song “Old MacDonald”. The rap-style boasting of “Who Do You Love?”, a wordplay on hoodoo, used many striking lyrics from the African-American tradition of toasts and boasts. His “Say Man” and “Say Man, Back Again,” both of which were later cited as progenerators of hip-hop music, share a strong connection to the insult game known as “the dozens”. For example: “You got the nerve to call somebody ugly. Why you so ugly, the stork that brought you into the world ought to be arrested”.
Discography
Main article: Bo Diddley discography
Books
George R. White, Living Legend, Sanctuary Publishing Ltd, 1995.
Laurent Arsicaud, Bo Diddley, Je suis un homme, Camion Blanc editions, 2012.
https://www.youtube.com/watch?v=jEKTrWHdINI
above: Recorded Live: 11/2/1972 – Hofstra University (Hempstead, NY)
for more information: bodiddley.com
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"I Don't Like You" by Bo Diddley
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“I Don't Like You” by Bo Diddley | Enjoy the finest hip hop, funk & soul at WEFUNK
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https://www.blackpast.org/african-american-history/diddley-bo-1928-2008/
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Bo Diddley (1928
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Boxer and singer Bo Diddley (birth name Ellas Bates McDaniel), was born on December 30, 1928 in McComb, Mississippi. He was adopted by his mother’s cousin when the mother’s husband died in the mid 1930s. McDaniel moved her family to Chicago where young Ellas took … Read MoreBo Diddley (1928-2008)
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https://www.blackpast.org/african-american-history/diddley-bo-1928-2008/
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Boxer and singer Bo Diddley (birth name Ellas Bates McDaniel), was born on December 30, 1928 in McComb, Mississippi. He was adopted by his mother’s cousin when the mother’s husband died in the mid 1930s. McDaniel moved her family to Chicago where young Ellas took violin lessons from Professor O.W. Frederick at the Ebenezer Missionary Baptist Church. He studied the violin for twelve years and composed two concertos. In 1940 his sister bought McDaniel an acoustic guitar for Christmas. He soon started to play the guitar, largely duplicating his actions on the violin. Soon afterward he formed his first group of three named The Hipsters and later known as The Langley Avenue Jive Cats. It was during this time that band leaders gave him the nickname, Bo Diddley.
Diddley recorded his first single “Bo Diddley”/”I’m A Man on March 2, 1955 on Checkers Records. It topped the R&B chart for two weeks. Soon afterwards Diddley began to tour, performing in schools, colleges, and churches across the United States. Regardless of the venue he taught people the importance “of respect and education and of the dangers of drugs and gang culture.”
Bo Diddley was known for many new musical styles and innovations. He was one of the first musicians of the 1950s to incorporate woman musicians including Lady Bo. He hired her full-time to play all of his stage performances whereupon she became the first female lead guitarist in history to be employed by a major act.
Also the usage of special effects like reverb, tremolo and his manipulations of his guitar made him a ground-breaking musician. Diddley hopped and strutted around the stage while playing his guitar over his head, with his teeth, and even between his legs. In that regard he influenced numerous rock musicians from the 1960s on.
In 1986 Bo Diddley was inducted into the Washington Area Music Association’s Hall of Fame. Then in the following year he was inducted into the Rock ‘n’ Roll Hall of Fame in Cleveland. In 1996, Diddley received the Lifetime Achievement Award from the Rhythm and Blues Foundation in Los Angeles. While the following year his 1955 debut recording of is song “Bo Diddley” was inducted into the Grammy Hall of Fame as a recording of lasting qualitative or historical significance. Also in 1996, he received a Lifetime Achievement Award at the Grammy Awards Ceremony. In 2000, Diddley was inducted into the Mississippi Musicians Hall of Fame as well as in the North Florida Music Association’s Hall of Fame. In 2007, Diddley went to Mississippi to receive the Governor’s Award of Excellence in the Arts for Lifetime Achievement, which is the State’s highest arts honor. He went back to see his Blues Marker revealed on the Mississippi Blues Trail.
Bo Diddley died of heart failure in Florida on June 2, 2008 at the age of 79. Married four times, he was survived by his five children, 15 grandchildren, 15 great-grandchildren, and 3 great-great grandchildren.
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Thomson & Wrens, GA Funeral Home...
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Welcome to Thomson Funeral System, Thomson, GA and Freeman Funeral Home in Wrens, GA
Family owned and operated, Thomson Funeral System, Inc and Freeman Funeral Home in Thomson, GA serves McDuffie County. Jefferson County, and surrounding areas. We are committed to providing quality, compassionate care to every family. Taking great pride in meaningful and dignified funeral services, we always provide choices to best suit your needs. We are dedicated to respecting your choices and answering every question with sensitivity and integrity. Contact us at any time, whether you are in need of traditional services, immediate burials, cremations or would simply like to learn more about pre-planning programs.
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https://www.billboard.com/music/music-news/remembering-bo-diddley-268504/
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Remembering Bo Diddley
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Bo Diddley's passing on June 2, 2008 ended one of the most influential careers in pop music history, a 54-year run during which the man born Ellas Otha Bates earned the rightful title of the Originator as he helped merge blues into rock’n’roll.
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Billboard
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https://www.billboard.com/music/music-news/remembering-bo-diddley-268504/
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Mention Bo Diddley’s name and most everyone thinks one thing—the beat.
Bomp ba-bomp bomp, bomp bomp…
Applied to such songs as “Bo Diddley,” “Hey Bo Diddley” and “Who Do You Love,” it’s perhaps the most influential musical motif since the Devil purportedly handed Robert Johnson the I-IV-V chord progression at the crossroads. It gave Diddley his rightful moniker as the Originator and his equally rightful spots in the Rock and Roll Hall of Fame and the Rockabilly Hall of Fame, as well as other lifetime achievement honors.
It’s been a year since Bo Diddley died June 2, 2008, of heart failure at age 79 in his home in Archer, Fla., following a prolonged illness. It ended one of the most influential careers in pop music history, a 54-year run during which the man born Ellas Otha Bates helped merge blues into rock’n’roll.
Australia’s Byron Bay Bluefest in 2007 marked the final performance of Diddley. The DVD release of this full performance is expected later this year.
During his career, Diddley produced a rich body of spirited, aggressive work that ran far deeper than the well-known hits. He also acquitted himself as a progressive bandleader as well as an inventor, not only of the square-shaped Gretsch (three models of which are now manufactured by Fender) but also of a variety of effects that subsequently became commonplace pedals and rack mounts.
The value of Bo Diddley’s seminal beat to the history of rock’n’roll is undeniable. “If Bo Diddley had received a dollar every time some act borrowed his distinctive beat—that bouncing ‘chank, a-chank-chank, chank, chank,’ with maracas shaking right alongside—he’d have been the richest man in rock,” wrote Tom Moon in his 2008 compendium “1,000 Recordings to Hear Before You Die” (Workman Publishing). Moon continues: “The Rolling Stones would have had to pay up several times. Bruce Springsteen would owe for ‘She’s the One.’ Buddy Holly for ‘Not Fade Away.’ The Strangeloves’ 1965 [song] ‘I Want Candy’ was a direct copy, as was the Who’s ‘Magic Bus.’ ”
One of the lesser-known aspects of Bo Diddley’s career was his support for female musicians, even in the early years of rock’n’roll, says Margot Lewis, who along with Faith Fusillo guided Diddley’s career through their company, Talent Source. Lewis suggests the person who could attest to that best was Diddley’s longtime bassist/bandleader, Debby Hastings.
Trending on Billboard
“Bo was brought up by women all around him, and he was comfortable with women,” Hastings recalls. “He was also the kind of guy who liked to give people a chance. “So even back in the ’50s, when he came upon a female musician who was good he had her in the band.”
In the wake of his passing, Lewis and Fusillo now want to ensure Diddley’s legacy transitions into an active and potent future. “We want to perpetuate his legacy and make sure he gets his due in the world of popular music and popular culture,” Fusillo says. They are working with strategic partners—primarily the New York-based publishing and marketing firm Primary Wave Music and also Universal Music Enterprises (UMe), which owns much of Diddley’s recorded catalog—on an array of projects, including exposure for some 200 reels of unreleased and largely unheard Diddley recordings.
Available now is a Diddley Collector’s Pack on iTunes featuring the artist’s hits and an exclusive unreleased track—a frenetic jam recorded in the ’70s and featuring “Bo going crazy on the guitar for about 10 minutes. It’s unbelievable, vintage Bo. When we first heard it, we almost started to cry,” Fusillo says. UMe, meanwhile, is preparing for the June 9 release of “Ride On/The Chess Masters 1960-1961,” the Hip-O Select label’s third volume of Diddley’s Chess Records recordings. The limited-edition set (5,000 copies) includes 16 unreleased tracks and rarities, including recordings Diddley made at his home studio, then in Washington, D.C., and with two more years of his Chess tenure left.
Looking further down the line, Primary Wave, TCI and the Diddley estate hope to stage a tribute concert, most likely for the second anniversary of his death in 2010, which will probably yield a companion album and DVD.
“We just want to spread the word and make people aware of who Bo Diddley was in the history of music,” says Lewis. “He was such an important figure and made so many important contributions that we still hear today. We have to make sure that people know who Bob Diddley was…forever.”
One year after Diddley’s death, he’s remembered by other musicians who knew him, admired his accomplishments or both.
Billy Gibbons (ZZ Top): “He hit the scene with that infectious beat he brought to the forefront, but it goes back to when he landed in Chicago and was part of the Maxwell Street scene playing at the flea market on the corner. It was Bo Diddley, Clifton James on drums and Jerome Green on maracas—and that was it. Who ever heard of a guitar player and two percussionists? And you listen to those early records now, with the knowledge there was no bass guitar, no rhythm guitar, no piano, no nothing except those three guys, but you turn it up and you say, ‘Well, I don’t miss anything. It sounds like a full orchestra to me.’ ”
George Thorogood: “No artist has fascinated me more than Bo Diddley. When I got into his stuff, everybody in 1967 was listening to two monumental rock history albums—one was [Jimi Hendrix’s] ‘Are You Experienced?,’ the other was [the Beatles’] ‘Sgt. Pepper’s Lonely Hearts Club Band.’ But I had this album, Bo Diddley’s ‘16 All-Time Greatest Hits.’ I’d go to Wildwood, N.J., and buy maracas by the pound because I was fascinated with this sound and this thing that was Bo Diddley. This was before I got into John Lee Hooker, and I was amazed by the sound of this guy who sat on one chord, maybe two. But, like James Brown, he could do one chord for 15 minutes and it never gets boring. That’s where I learned my whole routine from. I mean, what is ‘Bad to the Bone’ except, really, Bo Diddley?”
Todd Snider: There are four important things about Bo Diddley that I hope everybody knows. The first, of course, is that he invented a beat. Second, and less known, his song ‘Bo Diddley’ was a first in that his name was the title and chorus which, in my opinion, makes him one of the inventors of rap. Third, three months before Elvis Presley played [on] Ed Sullivan, Bo Diddley did. He was told to play a different song than ‘Bo Diddley’ and said he would, but when the cameras rolled he played ‘Bo Diddley,’ thus inventing rock’n’roll’s attitude. Fourth and most important, he was so sexy that he told Arlene he had a chimney made out of human skulls—and she still went for a walk with him.”
Billy Corgan (the Smashing Pumpkins): “His influence is tough to quantify. Most people point to the ‘Bo Diddley beat’ as if that alone was enough, but that in many ways severely underestimates what he brought to the table. What he really did was bring a rock’n’roll attitude to rhythm and blues, and that influence is everywhere. Imagine the Stones without the influence of Diddley’s swagger, and you can see his true impact. His prime, like Chuck Berry’s, was at a time when African-American artists playing rock’n’roll was more comfortably accepted by a white public if these men were playing nonthreatening observers whose commentary came through in riddles and encoded language. The hipsters picked up on the fact that they were being spoken to. The sad part of that now is it can lock these men’s brilliance in an archetype no longer appreciated fully when set against the brash, shameless confessional monologues of rap. I never thought much of Bo Diddley till I got his boxed set in the early ’90s, and I found certain songs struck me like Escher drawings in that the more I heard them the more I saw. His is the kind of music that in its primitive urgency never gets old and in its lyrical narrative will never become outdated.”
Joe Satriani: “Bo Diddley gave us so much. He was an essential part of rock’n’roll. It couldn’t have happened without him.”
Bonnie Raitt: “Bo’s music will continue to influence people as long as someone can beat out that signature rhythm on whatever instrument they can. He was one of the greats and a wonderful man as well.”
Phil Lesh (Grateful Dead, Phil & Friends): “That groove is everywhere. It’s so fundamental. It permeates. You can hear it in all different kinds of music, and it moves so nicely. Personally I kind of like to do things inside it; I like to take the groove and move it over an eighth note and set up that tension between the thing that stars on the downbeat and the same pattern that starts an eighth note later, and then you can build that up and it’s very satisfying. It’s very fruitful, shall we say.”
Bob Weir (Grateful Dead, Ratdog): “He was famous for that one rhythm, but he was actually a pretty eminent blues artist. He had an amazing sense of dynamics. When musicians get together and they’re working up stuff, it’s quite common to hear somebody say, ‘I want you to play this Bo Diddley,’ and everybody knows what that means. It rumbles and rolls, and the notes don’t come real fast so you get a little time to be real choosy about what notes you play and it allows you to dance with your instruments. It’s a fun rhythm to play, so we tend to stretch it out and live in it for a while.”
Nils Lofgren (E Street Band): “That groove, however Bo fell into it, I’m sure he realized he had a gem . . . and he called it his own and sold it to us, and it was a beautiful thing and still is. It’s a signature beat that you can play against a four-count bar, but you can’t lose it. If someone’s playing that beat you can improv around it with funk, rock, melodic playing, nasty stuff, pretty stuff—but not at the expense of the beat. The drummer doesn’t have to play it; the guitar player can play it against regular backbeat drums, and it’s going to color the entire picture.”
John Doe (X, the Knitters): “Once you get past the brilliance of Chuck Berry, the next step is the simplicity and the amazing poetry of Bo Diddley. I think everybody wants to be known for something, and that [beat] is a pretty great thing to be known for. What it might overshadow is his sense of experimentation. He came to Los Angeles once in about ’83 and played this place called the Music Machine, and everybody was just out of their minds because Bo Diddley hadn’t played in L.A. since who knows when. They had put together a group of guys that played the blues OK but really didn’t have a clue to what to do with Bo Diddley and, with all apologies, it was terrible. That same night Dave [Alvin] and a few of us went to the owner of the club and said, ‘Get him back six months from now and we’ll put together a band and it will be great,’ and we did. And it was.”
Ted Nugent: “Bo Diddley’s incredible impact on music and America is immeasurable. As my American blues brother Billy Gibbons exclaimed, accurately, that a newborn infant exposed to the Bo Diddley rhythm would begin to gyrate accordingly. We often hear the term ‘primal’ associated with good rock’n’roll music, but clearly Bo handed off the purity of primal direct from our aboriginal campfires straight to the masses via his electric guitar grind. It is pure. Proving that God dearly loves me, I was privileged and deeply honored to jam with Bo and actually play bass guitar in a few of his concerts back in 1970. It changed my life. I wallowed in the belly of the beast and was instantaneously moved to better appreciate and more effectively implement the soulfulness of his music into my own. All dedicated musicians, knowingly or otherwise, directly or indirectly, cannot make stirring music without the immense touch of Bo Diddley guiding them one way or another. He defined the sensuality of rhythm. God bless Bo Diddley.”
Steve Howe (Yes, Asia): “It’s a little bit difficult because he’s not a virtuoso guitarist. But he moved some air, didn’t he, in the same generation as Chuck Berry and Bill Haley. He did have his own sort of sound—it was very simplistic, but very influential.”
Jack Ingram: “One way I look at it is when I listen to Tom Petty, we don’t have “American Girl” without Bo Diddley—and that could be said about thousands of other classic American rock’n’roll tunes. Without Bo Diddley, we’d be missing an entire segment of the soundtrack of our lives. My kid brought me a guitar he made in class the other day; he’s 3 years old, and in preschool they were making guitars that look like Bo Diddley’s. So his influence is bigger than I can fathom. It’s bigger than the money he made or the records he sold.”
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correct_death_00084
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FactBench
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0
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https://www.latimes.com/local/obituaries/la-me-diddley3-2008jun03-story.html
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en
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Bo Diddley, 79; singer-songwriter’s beat marked rock ‘n’ roll
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https://ca-times.brightspotcdn.com/dims4/default/0193c4b/2147483647/strip/true/crop/294x154+0+135/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F11%2F98%2F1283578bcad169bcecc3184cc0c4%2Fla-bo-diddley1987-ji5pmonc
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https://ca-times.brightspotcdn.com/dims4/default/0193c4b/2147483647/strip/true/crop/294x154+0+135/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2F11%2F98%2F1283578bcad169bcecc3184cc0c4%2Fla-bo-diddley1987-ji5pmonc
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"Chris Lee",
"www.latimes.com",
"chris-lee"
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2008-06-03T07:00:00+00:00
|
A primal guitar sound and stage swagger influenced music from Elvis to rap. But he never got the full rewards of a pioneer.
|
en
|
/apple-touch-icon.png
|
Los Angeles Times
|
https://www.latimes.com/local/obituaries/la-me-diddley3-2008jun03-story.html
|
Primal rock and blues musician Bo Diddley, who helped cast the sonic template of rock more than 50 years ago with a signature syncopated rhythm that became universally recognized as “the Bo Diddley beat,” died Monday. He was 79.
Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said.
The Rock and Roll Hall of Fame singer-songwriter, who often referred to himself as “the Originator” to emphasize his contribution to rock music, had long battled hypertension and diabetes, among other health problems, and was hospitalized for 11 days after suffering a stroke onstage in Iowa in May 2007.
In August, he had complained of dizziness and nausea during a routine medical checkup and was hospitalized with a heart attack.
Alongside Chuck Berry, Diddley is recognized as one of rock’s most influential guitarists, expanding the instrument’s vocabulary with a crunching, tremolo-laden sound. He played a rectangular “cigar box” guitar of his own design, an instantly recognizable visual counterpart to the distinctive chank-a-chank, a-chank, a-chank-chank rhythm that bore his name and provided the backbeat for his own songs, including “Bo Diddley,” “Mona” and “Who Do You Love.”
That beat -- fusing blues, R&B, Latin and African rhythms -- resurfaced over the decades in countless other rock and R&B songs, among them Buddy Holly’s “Not Fade Away,” Johnny Otis’ “Willie and the Hand Jive,” Bruce Springsteen’s “She’s the One,” David Bowie’s “Panic in Detroit,” U2’s “Desire” and George Michael’s “Faith.”
“Bo’s one of the guys who invented rock ‘n’ roll,” said Eric Burdon, lead singer of the Animals, the British Invasion band that recorded the tribute song “The Story of Bo Diddley” in 1964. “He took two cultures that existed in separate forms -- country and western and the kind of blues that used to be known as ‘race music’ -- and put them together. His beat was a jungle beat. That’s what he called it.”
Diddley’s most famous songs -- “Who Do You Love,” “Mona,” “I’m a Man” and “Bo Diddley” -- are the foundation of a huge catalog of songs that have been covered by the Rolling Stones, Eric Clapton, the Grateful Dead and the Doors and even sampled by the rap group De La Soul.
In fact, Diddley is considered by some as a pioneer of rap with his 1959 Top 20 hit “Say Man.” On that track, Diddley and maraca player Jerome Green trade jive-talking insults over a percolating beat, a precursor to rap performers’ fondness for dissing one another. “That came out of the black neighborhood way back,” Diddley told The Times in 1989. “We used to call it ‘signifying.’ ”
He has also been cited as a progenitor of hard rock and heavy metal music for his distortion-drenched sound and near-brutal manner of attacking the fret board.
“He was a wonderful, original musician who was an enormous force in music and was a big influence on the Rolling Stones,” the group’s lead singer, Mick Jagger, said Monday. “He was very generous to us in our early years and we learned a lot from him. We will never see his likes again.”
Bo Diddley was born Otha Ellas Bates in McComb, Miss., on Dec. 30, 1928. His father died shortly after his birth, and his 16-year-old mother was unable to support him. Diddley was later adopted by her first cousin, Gussie McDaniel. She legally changed his name to Ellas McDaniel and brought him north with her family to the South Side of Chicago.
There, he began studying violin at age 7 and taught himself to play guitar in the early 1940s. But it was in grammar school that the rambunctious young Ellas acquired the nickname that would provide his future marquee identity.
He circulated various explanations for the name over the years, but by most accounts, neighborhood kids started calling him “bow diddley” -- slang for “bully.” The name also recalled the diddley bow, an African single-string guitar that was seminal to blues music.
After dropping out of Foster Vocational High School in Chicago at 15, he began playing his guitar on street corners for change and later joined a small-time group called the Langley Avenue Jive Cats. Around that time, Diddley held various day jobs -- truck driver, boxcar loader, construction worker -- and boxed as a light heavyweight. But he hung up his gloves at 19 because, as he put it, he “kept getting whupped.”
By 1954 he was married and a fixture on the local music circuit when he decided to cut a two-song demo of his original songs “Uncle John” and “I’m a Man.” Although he usually adhered to the restrained blues style of his hero, Muddy Waters, Diddley based his recordings on the exultant, frenetic music he had been exposed to in the Pentecostal church as a child.
In 1955, the demo landed him a deal with Chicago’s Chess Records label, home to blues stalwarts Willie Dixon, Howlin’ Wolf and the young Chuck Berry.
According to the biography “Spinning Into Gold: The Chess Brothers and the Legendary Chess Records,” label head Leonard Chess was looking for a stage name catchier than Ellas McDaniel when a studio harmonica player blurted out, “Bo Diddley.” The name stuck, and the title for “Uncle John” was changed to “Bo Diddley.”
When the single was released that year, it shot to No. 1 on the national R&B chart. Diddley landed an appearance on “The Ed Sullivan Show” before hooking up with disc jockey Alan Freed’s rock ‘n’ roll revue that toured the country.
Diddley’s raw, distorted guitar sound connected with audiences from coast to coast. Almost immediately, the singer-songwriter began making an impression on other musicians. Upon seeing Elvis Presley perform in 1956, a reviewer for the Harlem, N.Y., newspaper the Amsterdam News said he had “copied Bo Diddley to the letter.” In 1957, Buddy Holly commandeered the Bo Diddley beat for “Not Fade Away.” Some have suggested that Holly’s horn-rimmed glasses were a nod to Diddley as well.
By the 1960s, the British Invasion threw the spotlight to an onslaught of performers from the U.K. who had been inspired by American blues musicians. In 1973, after the success of Chess’ album “The London Howlin’ Wolf Sessions,” Diddley was teamed with several key British rockers on “The London Bo Diddley Sessions” album in hopes of a career resurgence. But the album failed to duplicate the commercial success of Wolf’s outing two years earlier.
Diddley’s panache and swaggering stage presence influenced musicians on both sides of the Atlantic, among them Jagger, James Brown and Jimi Hendrix. Diddley’s early use of amplified electric-guitar effects -- including reverb, echo and distortion -- also played an important part in the evolution of the sound of rock music when they were taken to further extremes by Hendrix, the Doors and others.
Dressed head to toe in black cowboy regalia or loud plaids, Diddley had a high-kicking, hip-wiggling stage repertoire that included playing the guitar behind his head and with his teeth.
Although Diddley maintained a 76-acre property in Florida, he was rarely home. Touring extensively until last year -- he performed in Australia just a month before his stroke -- Diddley cut a striking figure, sporting a black cowboy hat and thick-rimmed glasses, coaxing space-age, effects-heavy sounds out of his rectangular Gretsch guitar.
“Bo Diddley was a music pioneer and a legend with a unique style,” blues legend B.B. King said in a statement to The Times. “We always had a good time when we played together, but his legacy will live on forever.”
Blues singer-songwriter Duke Robillard, who covered “Who Do You Love” on an album he released last year, recalls being impressed when the two performed on a bill together 11 years ago. He noted Diddley’s mad-scientist approach to tweaking his sound with a customized guitar.
“His guitar had effects and delay built into it so when he’d play a line it would repeat in time with the music,” Robillard said last year. “That’s pretty futuristic. You wouldn’t think of Bo as a guy who could do that electronically. But he had more to him than his one beat.”
Even though Diddley helped establish rock ‘n’ roll’s rhythmic bedrock, he never enjoyed the financial success or critical recognition of his two chief contemporaries, Chuck Berry and Little Richard. “Diddley remained firmly rooted in the ghetto,” author George R. White wrote in his biography “Bo Diddley: Living Legend.” “Both his music and his image were too loud, too raunchy, too black to ever cross over.”
Until the end, Diddley remained embittered about both his musical legacy and being exploited by the music industry -- he received no royalties from his classic songs until 1989 -- becoming a vocal champion of fair treatment for veteran blues and R&B musicians.
“Have I been recognized? No, no, no,” Diddley told the New York Times in 2003. “Not like I should have been. Have I been ripped off? Have I seen royalty checks? You bet I’ve been ripped off.”
When he was inducted in 1987 into the Rock and Roll Hall of Fame -- by the members of the Texas blues-rock trio ZZ Top -- he was part of the second group of rock pioneers granted entrance.
He also toured that year with Rolling Stones guitarist Ron Wood. And into Diddley’s final decade, he never faded from the public consciousness, performing at President George H.W. Bush’s inaugural gala in 1989 and the Democratic National Convention for Bill Clinton in 1992, collecting a lifetime achievement Grammy in 1998, opening for Tom Petty and the Heartbreakers on tour in 1999, performing at fundraisers for Hurricane Katrina and having his songs included on soundtracks for movies, including “Gone in Sixty Seconds,” “Ghost Rider,” “Joe Dirt” and “Wild Hogs.”
As recently as a year ago, in a display of Diddley’s determination to regain his health and return to his life on the road, his scheduled British tour was “postponed” rather than canceled.
Divorced from his fourth wife, Diddley is survived by four children, 15 grandchildren, 15 great-grandchildren, three great-great-grandchildren and a brother, the Rev. Kenneth Haynes.
A funeral is scheduled for Saturday in Gainesville, Fla., at the Showers of Blessing Harvest Center. A memorial service at the Martin Luther King Jr. Multi-Purpose Center, featuring members of Diddley’s touring band and guest musicians, will follow.
|
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correct_death_00084
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FactBench
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0
| 88
|
https://www.deseret.com/2008/6/2/20255888/rock-pioneer-bo-diddley-dies-at-age-79/
|
en
|
Rock pioneer Bo Diddley dies at age 79
|
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[
"Deseret News",
"Greg Kot, Chicago Tribune",
"www.deseret.com",
"deseret-news"
] |
2008-06-02T00:00:00
|
Bo Diddley, who died Monday at age 79 in Florida, was as essential to the creation of rock 'n' roll as Chuck Berry, Elvis Presley and Little Richard, though he seldom got the credit or the accolades that were showered on his better-known peers.
|
en
|
/pf/resources/deseretnews/favicon.png?d=150
|
Deseret News
|
https://www.deseret.com/2008/6/2/20255888/rock-pioneer-bo-diddley-dies-at-age-79/
|
Bo Diddley, who died Monday at age 79 in Florida, was as essential to the creation of rock 'n' roll as Chuck Berry, Elvis Presley and Little Richard, though he seldom got the credit or the accolades that were showered on his better-known peers.
The singer-guitarist, who died of heart failure at his home in Archer, Fla., had been ill since last year, when he suffered a stroke and later a heart attack. Until then, he had spent most of his life on the road, playing rock 'n' roll, the music he loved and helped invent.
He was a hard-scrabble visionary from the streets of Chicago's South Side who literally had to fight for everything he got. He created rock 'n' roll's essential rhythm, pioneered an approach to electric guitar playing that was at least a decade ahead of its time, and developed a vocal style and stage persona that influenced everyone from Elvis to Chuck D.
Diddley was born Ellas Otha Bates on Dec. 30, 1928, in McComb, Miss. He never knew his father and his mother was a teenager when she gave birth to him; the boy's primary caretaker was his mother's first cousin, Gussie McDaniel. He was renamed Ellas McDaniel and moved with McDaniel to Chicago when he was seven to escape the sharecropping life. As a child, he was mocked for his "country" ways and found himself scrapping with grade-school bullies several times a week. By the time he was a teenager, however, he had become an accomplished boxer, and a boy nobody wanted to mess with.
"When I started fighting back, there wasn't anyone around to whup me and they didn't try, so the kids started calling me 'Bo Diddley,"' Diddley wrote in the liner notes to the 1990 compilation, "Bo Diddley: The Chess Box."
At the same time, the budding pugilist was taking violin lessons at Ebenezer Missionary Baptist Church, and later built himself violins and guitars at Foster Vocational High School. These were the first of many custom-made guitars the aspiring musician would wield, and he developed a playing style as distinctive as the box-shaped instruments he made. His large hands made the finger-picking style of country-blues guitarists difficult to master, so he developed a more percussive approach that drew on Afro-Caribbean rhythms and the choppy wrist strokes he adapted from playing the violin.
"When I was about 15, I was trying to play like Muddy Waters, but it didn't work," he said in a 1985 interview. "I figured I was on my way to becoming a first-class fool trying to play like Muddy and them. So I invented my own style. I always felt it was better to do your own thing than try to copy someone else, but I had no idea my thing would change rock music."
Diddley called his syncopated groove a "freight-train" sound, others described it as a "shave-and-a-haircut" rhythm. The beat had been around for centuries, most notably in West African drumming, but Diddley mastered it and augmented it for the rock 'n' roll era. He perfected his sound by playing on Maxwell Street and South Side streetcorners for pocket change with his band the Hipsters.
By the early '50s, he was gigging regularly at the famed blues tavern the 708 Club with a band that included maracas player Jerome Greene, bassist Roosevelt Jackson and drummer Clifton James. His custom-built guitars and amplifiers sounded like no one else's, heavy on reverb and distortion. When he stepped into Chess Records studio in March 1955 to record for the first time, Diddley and his band were already seasoned entertainers of 11 years with a sound all their own. His songs were filled with tall stories, jokes, insults and good-natured bragging. Diddley portrayed himself as a larger-than-life character, and sang with a mixture of cartoonish joy and hoodoo-man menace.
"I'm a man," he declared in one of his more famous songs, and spelled it out slowly, "M-A-N," as if daring anyone to doubt that he was the toughest of them all. "Who do you love?" he growled rhetorically in another signature hit. When he declared his ardor for "Mona," there could be no doubt of his intentions.
On stage, he wore horn-rimmed glasses, a Black Stetson and a huge smile. He was a master showman whose high-spirited boasts and self-referential songs echoed folk songs, nursery rhymes and childhood games such as the dozens even as they prefigured the rise of hip-hop. He played box-shaped guitars with his teeth and behind his back or swung them suggestively through his legs, while making the amplifiers howl in a way that wouldn't be heard again until '60s innovators such as Buddy Guy and Jimi Hendrix came along.
But it was Diddley's feel for rhythm that truly set him apart. His drummer focused on the tom-toms and bass, rarely the snare or the cymbals. Jerome Green's hypnotic maracas were mixed way out front on the recordings so that they were made to sound unusually full and vibrant. They danced in and out with Diddley's guitar lines, which were drenched in reverberation. Other percussion instruments also factored into the mixes, all orchestrated by Diddley into rhythms that anticipated the bottom-heavy thunder of heavy metal, the clipped syncopation of funk and the lighter skip of reggae.
The "Bo Diddley beat" was copied by countless artists and underscored many hits: Buddy Holly used it on "Not Fade Away," Presley on "His Latest Flame" and Johnny Otis on "Willie and the Hand Jive." Other artists who incorporated it were Duane Eddy ("Cannonball"), the Strangeloves ("I Want Candy"), the Who ("Magic Bus"), the Stooges ("1969"), David Bowie ("Panic in Detroit"), Bruce Springsteen ("She's the One"), the Smiths ("How Soon is Now"), Guns N' Roses ("Mr. Brownstone") and U2 ("Desire"). His songs were also covered numerous times, by artists such as the Rolling Stones, Eric Clapton, the Yardbirds, the Pretty Things, the Doors, the New York Dolls, Springsteen, Aerosmith, Tom Petty and Bob Seger. The Clash invited him to tour with them at the height of the U.K. punk band's fame.
But as Diddley found, it was difficult enough to get paid for writing a song, let alone to receive credit for popularizing a rhythm. He claimed that he never received royalties for any of his Chess recordings, and his rhythmic innovations became so ingrained in rock 'n' roll's DNA that generations of fans grew up hearing them without knowing his role in their creation.
Though he had dozens of classic songs, Diddley never approached the level of fame enjoyed by Presley, Little Richard, Berry and Jerry Lee Lewis, among other '50s contemporaries. His sole appearance on the "The Ed Sullivan Show," the prime-time television star-making vehicle, did not go well. Sullivan insisted before the 1955 appearance that Diddley play a Tennessee Ernie Ford hit, "Sixteen Tons." Diddley agreed, but once the cameras rolled he played his signature song, "Bo Diddley." Sullivan was enraged and the singer never appeared on his show again.
Diddley avoided the scandal and notorious lifestyle that bedeviled some of his peers, but his hits dried up in the '60s and his career faded in the '70s. He settled in Florida in the '80s, and was inducted into the Rock and Roll Hall of Fame in 1987. In 1998, he received a Grammy Lifetime Achievement Award.
He continued to record sporadically and toured frequently on weekends. During the week, he lived quietly in Florida, writing music, repairing vintage cars, and attending church. At home, he was the antithesis of the showboating rock star he played on stage. His neighbors described Diddley as a self-effacing man always ready to help others.
"When I first became famous, it really freaked me out," he once said. "I mean, it didn't seem real. I said, 'Wow, I got a hit record! Little ol' me!' I didn't know what to do with it, but then I turned around and faced it. I come from a very religious background, and I figured I was being given a chance and I wasn't about to let it slip by. Maybe that's why I'm still around and others aren't."
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FactBench
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| 65
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https://read-the-plaque.appspot.com/plaque/bo-diddley2
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en
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Read the Plaque
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FrontAcclaimed as the father of rock and roll, Bo Diddley (Ellas Bates McDaniel) was born near Magnolia, south of McComb, on December 30, 1928. Diddley wrote and recorded such hits as "I'm A Man", "Bo Diddley', "Say Man" and "I'm a Roadrunner". The distinctive rhythm of his "Bo Diddley" beat and his pioneering use of electronic distortion were widely influential. His song have been covered by Buddy Holly, the Rolling Stones, The Who and Eric Clapton among many others.RearBo Diddley, one of the most unconventional yet influential figures in the history of American popular music, lived his early years in Pike and Amite counties. According to the 1930 census, his name as a two-year-old was Ellis [sic] Landry; his mother, Ethel Wilson, was living at the time with her cousin, Eugene Bates (the man Diddley believed to be his father). Diddley used the surname Bates until his mother's cousin Gussie McDaniel began raising him. In McComb the McDaniel family lived on Carver Street, near Highway 51; they moved to Chicago in the mid-1930s. There Diddley took up the violin, and at age twelve received his first guitar. His unique approach to guitar, he recalled, stemmed largely from his attempts to imitate the sound of a bow on a violin. As a teen he began playing for tips on the streets and eventually in clubs with groups that included blues recording artists Jody Williams and Billy Boy Arnold. To achieve his own sound Diddley rebuilt guitar amplifiers and constructed a tremolo unit out of a clock spring and automobile parts, and enhanced the group’s rhythm by adding maracas and drums.In 1955 Diddley made his first single for Chicago’s Checker Records. Both sides were hits: I’m A Man was a bold declaration of pride at a time when many whites referred to an African American man derogatorily as “boy,” and was covered by Muddy Waters as Mannish Boy, while the flip side, Bo Diddley, spotlighted his trademark beat, which was similar to a traditional African American slapping rhythm known as “hambone.” Diddley said he traced his variation back to Pentecostal church services, and his younger brother, the Reverend Kenneth Haynes, recalled Bo singing the rhythm as a child. The name “Bo Diddley” was used by various black vaudeville performers prior to his birth, and was suggested as a more colorful stage name than Ellas McDaniel when he recorded.Diddley, Fats Domino, Little Richard and Chuck Berry were among the few African American artists to achieve crossover stardom in the 1950s rock ’n’ roll market, and many bands adopted Diddley’s songs and beat. Diddley’s guitar sound became part of the basic vocabulary of rock, influencing guitarists including Link Wray, Jimi Hendrix, Led Zeppelin’s Jimmy Page, and the Who’s Pete Townsend, while his later funk recordings have been sampled by hip hop artists such as De la Soul and Method Man. A member of both the Blues and Rock and Roll Halls of Fame, Diddley received Lifetime Achievement Awards from the Rhythm & Blues Foundation and the National Academy of Recording Arts & Sciences, as well as a Mississippi Governor's Award for Excellence in the Arts. He died at his home in Archer, Florida, on June 2, 2008.
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/images/favicon.ico
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Read the Plaque
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https://readtheplaque.com/plaque/bo-diddley2
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Front
Acclaimed as the father of rock and roll, Bo Diddley (Ellas Bates McDaniel) was born near Magnolia, south of McComb, on December 30, 1928. Diddley wrote and recorded such hits as "I'm A Man", "Bo Diddley', "Say Man" and "I'm a Roadrunner". The distinctive rhythm of his "Bo Diddley" beat and his pioneering use of electronic distortion were widely influential. His song have been covered by Buddy Holly, the Rolling Stones, The Who and Eric Clapton among many others.
Rear
Bo Diddley, one of the most unconventional yet influential figures in the history of American popular music, lived his early years in Pike and Amite counties. According to the 1930 census, his name as a two-year-old was Ellis [sic] Landry; his mother, Ethel Wilson, was living at the time with her cousin, Eugene Bates (the man Diddley believed to be his father). Diddley used the surname Bates until his mother's cousin Gussie McDaniel began raising him. In McComb the McDaniel family lived on Carver Street, near Highway 51; they moved to Chicago in the mid-1930s. There Diddley took up the violin, and at age twelve received his first guitar. His unique approach to guitar, he recalled, stemmed largely from his attempts to imitate the sound of a bow on a violin. As a teen he began playing for tips on the streets and eventually in clubs with groups that included blues recording artists Jody Williams and Billy Boy Arnold. To achieve his own sound Diddley rebuilt guitar amplifiers and constructed a tremolo unit out of a clock spring and automobile parts, and enhanced the group’s rhythm by adding maracas and drums.
In 1955 Diddley made his first single for Chicago’s Checker Records. Both sides were hits: I’m A Man was a bold declaration of pride at a time when many whites referred to an African American man derogatorily as “boy,” and was covered by Muddy Waters as Mannish Boy, while the flip side, Bo Diddley, spotlighted his trademark beat, which was similar to a traditional African American slapping rhythm known as “hambone.” Diddley said he traced his variation back to Pentecostal church services, and his younger brother, the Reverend Kenneth Haynes, recalled Bo singing the rhythm as a child. The name “Bo Diddley” was used by various black vaudeville performers prior to his birth, and was suggested as a more colorful stage name than Ellas McDaniel when he recorded.
Diddley, Fats Domino, Little Richard and Chuck Berry were among the few African American artists to achieve crossover stardom in the 1950s rock ’n’ roll market, and many bands adopted Diddley’s songs and beat. Diddley’s guitar sound became part of the basic vocabulary of rock, influencing guitarists including Link Wray, Jimi Hendrix, Led Zeppelin’s Jimmy Page, and the Who’s Pete Townsend, while his later funk recordings have been sampled by hip hop artists such as De la Soul and Method Man.
A member of both the Blues and Rock and Roll Halls of Fame, Diddley received Lifetime Achievement Awards from the Rhythm & Blues Foundation and the National Academy of Recording Arts & Sciences, as well as a Mississippi Governor's Award for Excellence in the Arts. He died at his home in Archer, Florida, on June 2, 2008.
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correct_death_00084
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FactBench
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1
| 93
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https://www.thefreepress.ca/national-news/hey-bo-diddley-mississippi-road-could-get-blues-mans-name-5094372
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en
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Hey, Bo Diddley! Mississippi road could get blues man's name
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"The Canadian Press"
] |
2017-02-03T20:00:00+00:00
|
Hey, Bo Diddley! Mississippi road could get blues man's name
|
en
|
The Free Press
|
https://www.thefreepress.ca/national-news/hey-bo-diddley-mississippi-road-could-get-blues-mans-name-5094372
|
JACKSON, Miss. — Mississippi is on track to honour a blues and rock legend who sang about being a "road running man."
A state House passed a bill Thursday designating a stretch of Interstate 55 as the Bo Diddley Memorial Highway, near his birthplace outside McComb.
Born Ellas Bates in December 1928, he was adopted by his mother's cousin and became Ellas McDaniel. He said grammar school classmates in Chicago nicknamed him Bo Diddley.
His distinctive rhythms and electric guitar distortion influenced a host of rock artists.
Diddley was a Rock and Roll Hall of Fame inductee known for songs such as "I'm a Man," ''Hey! Bo Diddley" and "Road Runner." He was 79 when he died in Florida in June 2008.
The highway proposal, House Bill 1018 , moves to the Mississippi Senate.
Emily Wagster Pettus, The Associated Press
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correct_death_00084
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FactBench
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0
| 30
|
https://www.instagram.com/thehydrantofficial/reel/C7to8ZvNyEI/
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Instagram
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correct_death_00084
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FactBench
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1
| 85
|
https://www.abc.net.au/listen/programs/am/bo-diddley-dies/2458530
|
en
|
Bo Diddley dies
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[
"bo",
"diddley"
] | null |
[
"ABC listen"
] |
2008-06-02T23:31:00+00:00
|
As a teenager Ellas Bates started crafting his own violins and guitars. It was then that he was nicknamed Bo Diddley after the one-stringed African guitar the Diddley Bow. He topped the R and B charts in the 50s and since then his signature rhythm pattern inspired Buddy Holly, David Bowie, Bruce Springsteen and U2. He died at his Florida home, aged 79.
|
en
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/core-assets/listen/favicon-32x32.png
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ABC listen
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https://www.abc.net.au/listen/programs/am/bo-diddley-dies/2458530
|
TONY EASTLEY: When he was young Bo Diddley could have been a violinist but the young man from Mississippi fell in love with the sound of electric guitars and for decades the instrument was synonymous with his particular brand of rhythm, blues and rock and roll.
Bo Diddley who was 79, died at his home in Florida overnight.
The legendary singer and songwriter transformed rhythm and blues to rock and roll in the 1950s with a new hard-edged guitar sound as well as a driving beat behind it.
His signature rhythm pattern inspired artists from Buddy Holly, to David Bowie, Bruce Springsteen to U2.
Emily Bourke reports.
(Sound of Bo Diddley playing guitar)
EMILY BOURKE: The heavy guitar beat and driving rhythm thrust blues music into a new era and it made Bo Diddley one of the fathers of modern music.
Born Ellas Bates in Mississippi in 1928, he was adopted by this mother's cousin and moved to Chicago.
He took violin lessons as a young boy but was drawn to the guitar after seeing John Lee Hooker.
As a teenager he started crafting his own violins and guitars and it was then that he was nicknamed Bo Diddley after the one-stringed African guitar the Diddley Bow.
He started playing music on Chicago street corners in the 1940s but shot to fame in 1955 when he topped the R and B charts with hits including Bo Diddly, Who Do You Love, Before You Accuse Me, and Mona.
His band was different from many others.
He had a woman in it and unusual instruments like electric violin and maracas.
(Sound of Bo Diddley playing)
BO DIDDLEY: I mainly play chords and stuff like that in rhythm. I'm a rhythm fanatic. I play the guitar as if I were playing drums. That is the thing that makes my music so different.
I do licks on the guitar that a drummer would do.
EMILY BOURKE: While he inspired his contemporaries like Buddy Holly in the 1950s, he also influenced the 1960s British bands The Rolling Stones, the Who, and The Animals.
In the 1980s he was inducted into the Rock and Roll Hall of Fame and in 2004, Rolling Stone ranked him 20th on their list of the 100 Greatest Artists of All Time.
Up until 2006 he was still performing, touring the world and inspiring the current crop of performers.
Last year he suffered a stroke and a heart attack. Overnight he died of heart failure surrounded by more than 30 members of his family.
His grandson said the family sang a gospel song and he said 'wow' with a thumbs up.
Bo Diddley was 79.
(Sound of Bo Diddley playing guitar)
TONY EASTLEY: Emily Bourke reporting.
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correct_death_00084
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FactBench
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| 6
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https://www.blackpast.org/african-american-history/diddley-bo-1928-2008/
|
en
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Bo Diddley (1928
|
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"Julia Larsen",
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2008-06-29T10:07:31+00:00
|
Boxer and singer Bo Diddley (birth name Ellas Bates McDaniel), was born on December 30, 1928 in McComb, Mississippi. He was adopted by his mother’s cousin when the mother’s husband died in the mid 1930s. McDaniel moved her family to Chicago where young Ellas took … Read MoreBo Diddley (1928-2008)
|
en
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https://www.blackpast.org/african-american-history/diddley-bo-1928-2008/
|
Boxer and singer Bo Diddley (birth name Ellas Bates McDaniel), was born on December 30, 1928 in McComb, Mississippi. He was adopted by his mother’s cousin when the mother’s husband died in the mid 1930s. McDaniel moved her family to Chicago where young Ellas took violin lessons from Professor O.W. Frederick at the Ebenezer Missionary Baptist Church. He studied the violin for twelve years and composed two concertos. In 1940 his sister bought McDaniel an acoustic guitar for Christmas. He soon started to play the guitar, largely duplicating his actions on the violin. Soon afterward he formed his first group of three named The Hipsters and later known as The Langley Avenue Jive Cats. It was during this time that band leaders gave him the nickname, Bo Diddley.
Diddley recorded his first single “Bo Diddley”/”I’m A Man on March 2, 1955 on Checkers Records. It topped the R&B chart for two weeks. Soon afterwards Diddley began to tour, performing in schools, colleges, and churches across the United States. Regardless of the venue he taught people the importance “of respect and education and of the dangers of drugs and gang culture.”
Bo Diddley was known for many new musical styles and innovations. He was one of the first musicians of the 1950s to incorporate woman musicians including Lady Bo. He hired her full-time to play all of his stage performances whereupon she became the first female lead guitarist in history to be employed by a major act.
Also the usage of special effects like reverb, tremolo and his manipulations of his guitar made him a ground-breaking musician. Diddley hopped and strutted around the stage while playing his guitar over his head, with his teeth, and even between his legs. In that regard he influenced numerous rock musicians from the 1960s on.
In 1986 Bo Diddley was inducted into the Washington Area Music Association’s Hall of Fame. Then in the following year he was inducted into the Rock ‘n’ Roll Hall of Fame in Cleveland. In 1996, Diddley received the Lifetime Achievement Award from the Rhythm and Blues Foundation in Los Angeles. While the following year his 1955 debut recording of is song “Bo Diddley” was inducted into the Grammy Hall of Fame as a recording of lasting qualitative or historical significance. Also in 1996, he received a Lifetime Achievement Award at the Grammy Awards Ceremony. In 2000, Diddley was inducted into the Mississippi Musicians Hall of Fame as well as in the North Florida Music Association’s Hall of Fame. In 2007, Diddley went to Mississippi to receive the Governor’s Award of Excellence in the Arts for Lifetime Achievement, which is the State’s highest arts honor. He went back to see his Blues Marker revealed on the Mississippi Blues Trail.
Bo Diddley died of heart failure in Florida on June 2, 2008 at the age of 79. Married four times, he was survived by his five children, 15 grandchildren, 15 great-grandchildren, and 3 great-great grandchildren.
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correct_death_00084
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FactBench
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3
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https://popspotsnyc.com/bo_diddley/
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en
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Have Guitar Will Travel
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https://popspotsnyc.com/bo_diddley/
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Bo Diddley: Have Guitar Will Travel (1960) - Album Cover Location: 368 Livingston Street,
Brooklyn, N.Y.
The album cover. (released in 1960 by Checker Records; cover photo: photographer not identified)
The site of the album cover photo location: 368 Livingston Street at Flatbush Avenue, Brooklyn, N.Y.
Superimposing the album over over the present day location...
In this case, I like the "non see-through" look, but just for tradition, here it is in transparent PopSpots style...
(courtesy of Checker Records)
The location is in the southern part of downtown Brooklyn.
And here's where that location is in relation to Manhattan.
(courtesy of Checker Records)
How I found the the location of the album cover photo.
Bo Diddley was one of the great rock innovators and was there at the beginning with Elvis, Chuck Berry, Little Richard and Buddy Holly. He was most known for inventing "The Bo Diddley Beat" a rhythm many have described as "shave-and-a-haircut, two-bits." He used that rhythm in hits like Hey! Bo Diddley and Who Do You Love, a song later covered by George Thorogood and the Destroyers. Buddy Holly used the beat in Not Fade Away and the Rolling Stones recorded Holly's song on one of their first albums.
If you want to hear what it sounds like, here's Bo playing his song "Hey! Bo Diddley - from 1964.
The title of the album "Have Guitar - Will Travel (wire Bo Diddley)" is a take-off on a popular TV show of the time called Have Gun Will Travel about a pay-for-hire gunslinger named Paladin played by Richard Boone. Paladin's business card read "Have Gun, Will Travel - wire Paladin - San Francisco." Palladin had a horse; Bo is mounted on a funky pink-and-cream Vespa. (*update: see addendum: The scooter is most likely a 1957 Cushman Eagle.)
In fact, Bo later entitled an album: Bo Diddley is a Gunslinger, so he must have enjoyed the concept of the rebel gunslinger, i.e. a traveling rock'n roll cowboy.
I don't remember where I first came across Have Guitar Will Travel, but my thoughts were that the cover photo was taken in Chicago, since Bo Diddley mostly recorded on Chess/Checker Records which was located there, and the picture didn't seem like anyplace I recognized in Manhattan.
In looking for the location, there were 3 main clues, which I have circled:
1) The orange license plate of the car in the background looked like an old New York state plate.
2) The name of the store near Bo's head read "Bert F. Baker 368" and, looking closer with a magnifying glass, "silverware."
3) The bar/restaurant on the right was called "Camille's Bar."
I started by searching for "Camille's Bar" in Google and, more specifically, I went to "advance search" and searched "Google Books between years 1950-1970," because the restaurant might have been listed in a magazine restaurant review. Dead end.
Next, I searched Ebay for a postcard of a Camille's restaurant, but that search also came up empty. Time to switch clues to "Bert Baker."
So I started a search for "Bert F. Baker", and because I saw the word "silverware" in the window, I added that word, too.
Bingo!
The search led me to this listing that said "Silversmiths Bert F Baker"
Clicking on that link, in turn, led me to a really long list of silversmiths at a site called "LookOOH." So I entered the name "Baker" in the search field at the bottom, and it highlighted a silvermith named Bert F. Baker of 1031 Northern Boulevard, Roslyn, New York.
Roslyn is a leafy suburb out on Long Island and I was pretty sure it didn't have a building like Bo's building in it, but I checked it out anyway. Nothing.
So then, I searched for more results of "Bert F Baker Silversmith," but this time adding "Roslyn" to the search. And I came up with the 2 results below:
1) Number one indicating that the Roslyn store had closed, and
2) Number two, that "for 30 years...Bert F. Baker...has a store at 368 Livingston Street, near Flatbush Ave."
Double bingo!
So I clicked on the top link and came to this: a story from a society page from an old Brooklyn newspaper confirming the 368 Livingston Avenue address.
I immediately went to Google maps and, with Streetview, "landed" outside 368 Livingston. And right away my heart started playing the Bo Diddley beat.
Bert F. Baker's store now had a yellow awning that read "Shoe Store & Shoe Repair" and Camille's now had a red awning that read "Lan's Hair & Nail Salon"...
....but all the window tops and bottoms (I'll call them ledges) were the exact same, and you could even see the metal bracket which used to hold up the upper Camille's sign." I had a match.
So long, Bo. Meet you down the street at Junior's cheesecake!
Thanks again for reading along. "Have PopSpots - Will Travel"
(Be sure to read the ADDENDUMS below, too! Some new pictures came in.)
ADDENDUM #1
Beppe Kin of Italy emailed PopSpots that he believes Bo's scooter is not a Vaspa but rather possibly a Cushman scooter from 1957, so I decided to check it out.
First, using Google Images, I ran across another picture from the photo shoot, which was on several different websites (the other passengers on the scooter weren't named. If someone knows them, please write in. NOTE: someone did: see below this picture) Here's the picture...
(from an e-mail to PopSpots)
I've just recently discovered your PopSpots site, and am enjoying working my way through your posts. Your detective work is pretty impressive.
I see that you were looking for IDs on the other two guys riding the scooter with Bo Diddley in Addendum #1. Since they seem to have been doing a concert in the area, the guy with the maracas is probably Jerome Green, a member of Diddley's band at the time who was credited as the maraca player in the liner notes on the album.
The other guy is harder to identify, but I believe he was drummer Clifton James. See the cover photo from GO BO DIDDLEY (below).
Both James and Green are on the cover, and to my eye, they look like the guys you were looking to ID.
I hope this is helpful. Keep up the good work.
Best,
Sean P. Fodera
Then I found a good picture of a Cushman scooter with the distinctive chevron tail and red/white color pattern on a website called "classic-motorbikes-net" They referred to it as a "1957 Cushman Step Thru Scooter."
Then digging deeper, I found that "telleutellme" on tdpri.com refers to the scooter as a "Cushman Eagle," so it's looking like 99% chance that's it's a Cushman, as you suggested Beppe. Thanks!"
ADDENDUM #2
In February of 2013 Joe @ Errols sent in this photo of Bo in front of the Fox Theater in Brooklyn, taken during the same ssesion. Read Joe's analysis of the photo after the description. Thanks, Joe!
Re your Bo Diddley entry (great!), I think I might know the reason that this shot was taken in Brooklyn. The Brooklyn Fox Theater used to be right across the street from where the cover photo was taken. The Fox used to host famous early rock n roll shows hosted first by Alan Freed and later by Murray "the K" Kaufmann. The Fox Theater was demolished in the late 1960's.
I just saw a photo on FaceBook showing Bo and fans seated on that scooter and in front of the Fox Theater. The marquee shows that one of Alan Freed's shows were being presented. Presumably, Bo Diddley was one of the acts.
Alan Freed's shows were originally in the Brooklyn Paramount until that theater closed. The show then moved to the Fox. I assume that Murray the K took over after Freed was convicted of accepting payola. I'm old enough to have seen a Murray the K show (and a few movies) at the Fox. The Fox was demolished in the late 60's and replaced by a butt-ugly Con Ed office building. The Paramount Theater building still exists as part of the LIU Brooklyn campus. You can see the Paramount Theater building in the distance in the photo. The theater entrances were both on Flatbush Avenue and only two blocks apart.
ADDENDUM #3
(More specifics about the scooter. Thanks, Troyce!)
Sir,
Not that it matters at this point, but being an OCD motorhead, I can point out that the scooter in question under Mr. Diddly is an Allstate "Jetsweep." This scooter is essentially a re-badged Cushman Pacemaker. The difference mechanically is that many of the Cushmans have a shift lever on the left side under the seat for the two-speed transmission. The Allstate is a single speed, with no lever.
http://www.usscootermuseum.com/sears_023.jpg
http://www.hobbytech.com/FeatureBikes/Mark%20Perkins.jpg
Note the abbreviated tri-pointed "Twinkle" on the cowling under the headlight on the Allstate, and in this image in front of the theater as well.
http://www.popspotsnyc.com/bo_diddley/Bo_Fox_Theater.jpg
Note that the Cushman has a Cushman cast logo in that location.
Too many years on my part studiously following Sears/Allstate scooters and motorcycles. For what it's worth, Sears sold several motorcycle models made by Puch in Austria, others by Gilera in Italy, homes made by Jim Walter, cars that were a rebadged Kaiser Henry J, washing machines by Kenmore . . . . on and on.
Troyce Walls, gearhead.
Greeneville TN.
|
|||||||
correct_death_00084
|
FactBench
|
0
| 26
|
https://ew.com/article/2008/06/04/bo-diddley-dies-79/
|
en
|
Bo Diddley dies at 79
|
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2008-06-04T00:00:00
|
Bo Diddley dies at 79
|
en
|
/favicon.ico
|
EW.com
|
https://ew.com/article/2008/06/04/bo-diddley-dies-79/
|
(FROM AP) – Rock and roll legend Bo Diddley died of heart failure on Monday (June 2) at the age of 79 in his home in Archer, FL, after months of serious illness. Last year, Diddley suffered a heart attack and a stroke. He continued to tour and record music up until the stroke, which affected his ability to speak. Considered one of the founding fathers of rock music, Diddley was a Rock and Roll Hall of Fame inductee and a Lifetime Achievement Grammy Award recipient. Some of his most famous songs include “Say Man,” “You Can’t Judge a Book by Its Cover,” “Shave and a Haircut,” “Uncle John,” “Who Do You Love?,” and “The Mule.” Diddley was known for playing his homemade square-shaped guitar, and is credited with helping to modernize the rock guitar sound, being one of the early adopters of various effects like tremolo and reverb. (AP via Yahoo!)
For Gary Susman’s tribute to the late Bo Diddley, please visit PopWatch.
|
||||
correct_death_00084
|
FactBench
|
3
| 24
|
http://www.floridahistorynetwork.com/june-2-2008---bo-diddley-79-dies-at-his-home-in-archer.html
|
en
|
Bo Diddley, 79, dies at his home in Archer
|
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The Bo Diddley beat can be heard on countless records, including "Wille and the Hand Jive" by Johnny Otis Show, "Hey Little Girl" by Brownsville Station, "Shame Shame Shame" by Shirley and Company, "Volcano" by Jimmy Buffet, "Please Go Home" by the Rollin
|
en
|
Florida History Network - Your one-stop source for celebrating and preserving Florida's past, today
|
http://www.floridahistorynetwork.com/june-2-2008---bo-diddley-79-dies-at-his-home-in-archer.html
| ||||
correct_death_00084
|
FactBench
|
0
| 71
|
https://www.smh.com.au/world/rock-pioneer-bo-diddley-dies-aged-79-20080603-2l32.html
|
en
|
Rock pioneer Bo Diddley dies, aged 79
|
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2008-06-03T01:18:36+00:00
|
Rock 'n' roll pioneer Bo Diddley, who banged out hit songs powered by the relentless "Bo Diddley beat" that influenced rockers from Buddy Holly to U2, died on Monday at the age of 79.
|
en
|
/favicons/smh.ico
|
The Sydney Morning Herald
|
https://www.smh.com.au/world/rock-pioneer-bo-diddley-dies-aged-79-20080603-2l32.html
|
Rock 'n' roll pioneer Bo Diddley, who banged out hit songs powered by the relentless "Bo Diddley beat" that influenced rockers from Buddy Holly to U2, died on Monday at the age of 79.
Diddley died of heart failure at his home in Archer, Florida, his management agency, Talent Consultants International, said in a statement.
"One of the founding fathers of rock 'n' roll has left the building he helped construct," the statement said.
Diddley suffered a stroke during a concert in Iowa in May 2007 and was hospitalised in Omaha, Nebraska. In August 2007 he had a heart attack in Florida.
In a career spanning more than five decades, Diddley composed a substantial body of rock classics, including Who Do You Love, Bo Diddley, Bo Diddley's a Gunslinger, Before You Accuse Me, I'm a Man, Pretty Thing and Mona.
He cranked them out on a signature rectangular guitar, setting many of them to rumba-like rhythm of his Bo Diddley beat that gave rock 'n' roll a powerful rhythmic foundation.
Along with such contemporaries as Chuck Berry and Little Richard, he was among a pioneering group of black recording artists who crossed the American racial divide with music that appealed to white audiences and was emulated by white performers.
Although Diddley recorded relatively few chart-topping hits, his seminal role in the formative years of rock music was recognised by his induction into the Rock 'n' Roll Hall of Fame in 1987 and with a Grammy lifetime achievement award in 1998.
Born Ellas Bates in 1928 in McComb, Mississippi, he took the last name McDaniel from his adoptive mother, and played classical violin as a boy.
He was given the nickname Bo Diddley as a teenager after moving to Chicago, where he started playing music on street corners in the 1940s.
Inspired by blues musician John Lee Hooker's classic, Boogie Chillen, Diddley used his violin skills to craft a guitar sound that laid the basis for the funk music of the 1960s.
He found fame in the mid-1950s with his signature song, Bo Diddley. Even among the first wave of rock music, the song stood out with its tremolo guitar, maracas and trademark beat.
Diddley's unique guitar playing and rhythm influenced generations of rockers from Elvis Presley to Bon Jovi. Keith Richards and Ron Wood of the Rolling Stones and Richie Sambora of Bon Jovi made guest appearances on his records and Diddley played with the likes of The Clash and The Grateful Dead.
Reuters
|
||||
correct_death_00084
|
FactBench
|
1
| 46
|
https://www.stevensfamilyfuneralhome.com/obituary/Alfred-BoDiddleyDeans
|
en
|
Obituary for Alfred Glenn "Bo Diddley" Deans
|
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Mr. Alfred Glenn Deans, better known as "Bo Diddley", age 59, of 3708 Starship Lane, Apt. A, Wilson, NC, passed on Saturday, September 12, 2015 at Vidant Medical Center in Greenville, NC. Funeral arrangements are scheduled for Thursday, September 17, 2015, 1:00 pm at Red Oak...
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Obituary for Alfred Glenn "Bo Diddley" Deans
|
https://www.stevensfamilyfuneralhome.com/obituary/Alfred-BoDiddleyDeans
|
Mr. Alfred Glenn Deans, better known as "Bo Diddley", age 59, of 3708 Starship Lane, Apt. A, Wilson, NC, passed on Saturday, September 12, 2015 at Vidant Medical Center in Greenville, NC. Funeral arrangements are scheduled for Thursday, September 17, 2015, 1:00 pm at Red Oak Grove Missionary Baptist Church, 6149 Old Smithfield Road, Stan Hope, North Carolina. The committal services will be held at Sandy Fork Baptist Church Cemetry. Pastor Elaine Carter will deliver the Words of Comfort and Minister Daquan J. Deans will officiate.
Mr. Deans was preceded in death by his father, James Deans and his sister, Janice Deans Barnes.
He leaves to cherish his memories his loving and devoted wife, Deborah Deans of the home; two daughters, Tameka Joyner of Wilson, NC and Deshauna Artis of Bailey, NC; four grandchildren, Justice Anderson and Destiny Artis both of Bailey, NC, Keshon Mitchell of Wilson, NC and Kevin Adams of the home; one great grandchild, Karter Adams of Bailey, NC; his mother, Doris Ricks Deans of Wilson, NC; two brothers, James Deans (Earlene) of Valdosta, GA and Tony L. Deans of Wilson, NC; three sisters, Brenda Daniels (Timmy), Doris Leveston and Michelle Deans all of Wilson, NC; two uncles, Joseph Ricks and Olford Ricks (Joyce) both of Wilson, NC; nine aunts, Annie Morris Moore, Norris Deans and Bessie Deans all of Raleigh, NC, Shirley Willis (Andrew) of Chesapeake, VA, Mae D. Alston of Greenville, NC, Odessa Hall of Wilson, NC, Faye Lee Tayborn and Rachel Deans both of Bailey, NC and Annie Deans of Stan Hope, NC; five special nephews including one raised in the home, Patrick Little (Keeshia), Derick Little, JoQuincy Deans, Markquail Deans and Isiah Taylor (Tori) all of Wilson, NC; four nieces, Pamela Deans (fiancee Dawana), Alaina Barnes, Deanna Elliot all of Wilson, NC and Dherrian English of Saratoga, NC; mother-in-law, Gertrude Johnson of Norfolk, VA; brother-in-law, Donnie Barnes of Wilson, NC; three sisters-in-law, Sharon Speight English of Saratoga, NC, Trusalda Speight of Durham, NC and Kenya Johnson of Norfolk, VA and a host of many other nieces, nephews, God-children and friends.
A public viewing is scheduled for Wednesday, September 16, 2015, from 1:00 pm until 6:00 pm at Stevens Funeral Home located at 1820 Martin Luther King Jr., Parkway, Wilson, NC
Services are entrusted to Stevens Funeral Home, LLC, 1820 Martin Luther King Jr., Parkway, Wilson, NC. Condolences may be posted at www.stevensfamilyfuneralhome.com or emailed to familycondolences@gmail.com.
For any questions pretaining to the arrangements of Mr. Deans, please contact Stevens Funeral Home @ 252-991-5843 or Carlton Jr. @ 252-399-9716.
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