Bo Diddley was never as commercially successful as his Chess Records labelmate Chuck Berry, but the music that he created in the late-1950s and early-1960s would influence a legion of rock 'n' followers, from the Rolling Stones and the Yardbirds to Buddy Holly, George Thorogood, and the Clash, among many others. Although Diddley had only one significant Top 30 charting pop hit, he possessed a larger than life personality, a self-mythologizing public image, and an undeniable musical sense that masterfully bridged blues and R&B with primal rock 'n' roll.
Constantly dissatisfied with the way his records sounded coming out of the Chess Studios cookie-cutter, Diddley took the unusual (and ground-breaking) move of setting up his own studio in the basement of his house, the first African-American artist to do so. This resulted in a wealth of recordings that were created during the early-1960s. Riding the first wave of rock 'n' roll cheap thrills, Chess Records hammered the record-buying public with Diddley's music, releasing eleven full-length albums in the five years between 1958 and 1963.
Bo Diddley's Ride On
The glut of Diddley is partially reflected by the line-up of the two-disc Ride On: The Chess Masters 1960-61 anthology, and one would believe the cupboard scraped pretty clean by now. Yet, there's still plenty of meat on this bone. The first disc alone will provide enough raw blues and primal, proto-rock 'n' roll to satiate the hunger of any listener. The previously unreleased "My White Horse," for instance, starts out with a weird, tinkling Western-styled theme before jumping headfirst into the syncopated "Bo Diddley" beat. From there it rolls out of your speakers like a flaming tumbleweed blowing through your living room, Diddley's guitar flailing and Clifton James' drums positively exploding through the speakers.
Bo Diddley
Photo courtesy Geffen RecordsOriginally released on the Bo Diddley In The Spotlight album, "Live My Life" is a mid-tempo blues tune with a strolling rhythm, Diddley's uncharacteristically soulful vocals, backing harmonies, and scraps of wiry guitar. Keeping with the rough Western theme that Bo had goin' on 'round this time, "Mule Train" is the vocal version of the shuffling instrumental "Travelin' West." For those who enjoy a minimalist slant, there are two more takes of "Mule Train" included here, although neither improves upon the sublime charms and spirited howls and tics of the original.
Bo Diddley Is A Gunslinger
The jaunty "Say You Will," also previously unreleased, is a good-time party song similar to the Otis Day & the Knights number from the Animal House movie. Benefitting from the underlying piano-drone of blues legend Otis Spann, the song's driving rhythm and raucous vocals are infectious.
"Ride On Josephine" offers some spry guitarwork from old Bo, and a lyrical and rhythmic sound not unlike Chuck Berry. Taken from the 1960 album Bo Diddley Is A Gunslinger, the song is now a staple of George Thorogood's live show. In fact, the latter half of the first disc here includes much of Bo Diddley Is A Gunslinger, an ambitious collection where Diddley further attempted to weld bluesy roots and rock 'n' roll energy with country & western themes.
Sixteen Tons
Although the doo-wop torch "No More Lovin'," which includes backing vocals from members of the Moonglows and the Flamingos, is a lovely romantic number, songs like "Whoa, Mule (Shine)" and "Cheyenne," with its odd popcorn rhythms, take Bo's hillbilly vibe to new heights. The Merle Travis-penned classic "Sixteen Tons," best known as Tennessee Ernie Ford's signature song, is transformed here into a gospel-tinged R&B rave-up with delicious backing vocals, a rollicking beat, and a fine vocal performance by Diddley.
"Working Man" is a slow-paced, bluesy worksong not too many steps away from a field holler, while "(Bo Diddley's A) Gunslinger" is an upbeat rocker with Bo's signature sound and vocals, and a strong bassline courtesy of Chicago bluesman Willie Dixon. The second disc of Ride On features a slew of previously-unreleased material which provides unique insight into Diddley's songwriting process and how a song evolves. The unreleased "Hey, Hey (What Are You Going To Do?)" is tried out at both an up-tempo and a slightly revved-up mid-tempo pace, the former of which kicks serious tail.
Bo Diddley Is An Outlaw
Diddley displays his Mississippi blues roots with the powerful "Come On Baby" a/k/a "The Soup Maker." No, I don't know where he came up with the name, but the song is a fiery blues-rock dirge with hypnotic fretwork, Diddley's best black cat moan vocals, and an overall bad mojo vibe. The instrumental "Watusi Bounce" is really just Diddley's previous hit song "Bo Diddley" in disguise, with Bo hitting the skins and band member Peggy Jones providing some tasty guitar strum. Jones uses the energetic instrumental "Doodlin'" as a showcase for her often overlooked six-string skills.
Slightly discordant and caging a familiar rhythm, "Bo Diddley Is An Outlaw" is the kissing cousin to "(Bo Diddley's A) Gunslinger," mining similar lyrical, if not musical territory as the better-known song. The engaging instrumental "The Twister," a guitar duel between Diddley and Jones, was released on the Bo Diddley's A Twister album to try and cash in on the popular dance craze.
Bo Diddley Is A Lover
Several songs from Bo Diddley Is A Lover are included here, showing Bo expanding his trademark sound beyond blues and R&B and further towards dance-oriented rock 'n' roll. "Bo Diddley Is Loose" provides some nice riffing and imaginative tremolo-solos set to the usual beat, while "Bo's Vacation" is a rockin' novelty song, a long spoken tone poem set as a conversation between three co-workers, a rowdy guitar and pounding drumbeats backing the vocals.
