Have A Bo Diddley Holiday!

 

Having a hard time figuring out a gift for the rock ‘n’ roller on your Christmas list? Don’t wanna buy ‘em just another crappy CD or a ragged vintage band tee? Well, consider the problem solved me droogs, ‘cause here comes Bo Diddley to the rescue!

Rock ‘n’ roll innovator Bo is back in the form of three gorgeous bobblehead figures. These special edition bobbles were produced by the National Bobblehead Hall of Fame and Museum in Milwaukee, Wisconsin with the help and support of the Bo Diddley Estate. Just look at ‘em! Three different classic Bo poses with the legendary guitarist wielding his trademark, self-designed rectangular “cigar box” guitar.

The ‘standing’ figure features Bo sporting the timeless red plaid jacket he wore on the cover of his sophomore album, 1969’s Go Bo Diddley. The figure of Bo astride his trusty custom scooter pays homage to the cover photo of Diddley’s 1959 album Have Guitar, Will Travel album, shot in Brooklyn, and re-used again for 1963’s Rides Again album. The ‘sitting’ figure looks like ‘70s-era Bo as portrayed on illustrated album covers for 1972’s Where In All Began and the following year’s The London Bo Diddley Sessions, with Diddley wearing his signature hat with the prominent badge.

In case you’ve been living in a cave for the past few decades and are unfamiliar with ‘The Originator,’ Bo Diddley (a/k/a Ellas McDaniel) was the prototype rocker, an influential guitarist and songwriter with accolades as long as your arm. In 1987 he was inducted into both the Rock & Roll Hall of Fame and the Rockabilly Hall of Fame; he made his way into the Blues Hall of Fame in 2003. Diddley’s 1960s-era hits – classic tunes like the self-referential “Bo Diddley,” “Pretty Thing,” “Who Do You Love?,” “You Can’t Judge A Book By the Cover,” and “Diddy Wah Diddy” – influenced musicians on both sides of the ocean, from the Yardbirds and the Rolling Stones to Elvis Presley and Buddy Holly.

Diddley passed away in June 2008 at 79 years old after a lengthy illness. Over the course of his legendary career, Diddley released 33 studio and live albums, his last being 1996’s A Man Among Men, recorded with blues guitarist Jimmie Vaughan and Keith Richards and Ron Wood of the Rolling Stones. Bo also recorded with blues harmonica wizard Little Walter, Chicago blues legend Muddy Waters, and fellow rock ‘n’ roll pioneer Chuck Berry. He toured with bands like the Grateful Dead and the Clash and appeared in movies like Trading Places and Rockula. When Bo died, artists as diverse as George Thorogood, Eric Clapton, Robert Plant, Bonnie Raitt, B.B. King, Tom Petty, and Elvis Costello, among many others, lined up to sing his praises.

In a press release for the bobbleheads, National Bobblehead Hall of Fame and Museum co-founder and CEO Phil Sklar says “we’re excited to unveil the first bobbleheads of the legendary Bo Diddley as a tribute to the remarkable and groundbreaking musician. As one of the most influential performers of rock music’s early period, these bobbleheads are sure to be a must-have for music fans everywhere.”

Where can you get ‘em? The bobbleheads are individually numbered to 2,024 and are available exclusively through the National Bobblehead Hall of Fame & Museum online store [link]. The cost of each figure is right around the average for these sort of limited-edition collectibles: $30 for Bo standing, $35 for Bo Sitting, and $40 for Bo on the bike, or a cool $100 for all three. Shipping is a flat rate $8 per order.

Shipping won’t be until January 2025 but you can print out a picture of your bobblehead gift and give it to its recipient on December 25th and they’ll be anxiously watching the mailbox for the next month! You can bet that the Reverend will be adding one (or more) ‘Bo’s to my own growing bobblehead collection!

Archive Review: Little Walter's The Complete Chess Masters (2009)

Little Walter Jacobs was, without argument, the greatest blues harmonica player ever, an instrumental virtuoso that revolutionized the use of the instrument and influenced virtually every harpist that would attempt to follow in his footprints. Sodbusters like Paul Butterfield, Charlie Musselwhite, Rod Piazza, and Jason Ricci were all influenced by Walter’s enormous shadow.

For a while, blues harp master Little Walter was Chess Records’ biggest and best-selling star…bigger than Muddy Waters or Howlin’ Wolf. From 1952 through 1958, Walter ran off a string of fourteen Top Ten R&B chart hits, and even his recordings from the late-50s and early-60s display a dazzling presence, a willingness to take chances, and an uncanny skill as both an instrumentalist and vocalist.

The Complete Chess Masters (1950-1967) collects better than ten-dozen tracks recorded by Walter, including nine previously unreleased performances. Across the five CDs included with the set, Little Walter is accompanied by a veritable “who’s who” of Chicago blues royalty, including Muddy Waters, Willie Dixon, Otis Spann, and Jimmy Rogers.  

The first disc includes some of Walter’s early big hits, including the career-making “Juke,” from 1952. A fluid, swinging instrumental with an easily-recognizable central riff and some tasty six-string fills courtesy of Jimmy Rogers, the song would spend an incredible 20 weeks on the R&B charts. Backed with the soulful “Can’t Hold Out Much Longer,” the single created a blueprint that Chess would follow for much of Walter’s career, featuring an instrumental ‘A’ side backed by a ‘B’ side that would feature Walter’s underrated vocals.

When “Juke” hit the top of the charts, Little Walter ditched Waters mid-tour and, scooping up Junior Wells’ band the Aces, launched his solo career in earnest. Recording with the new band, sessions from late-1952 and early-1953 resulted in another big hit in “Sad Hours.” Paired with T-Bone Walker’s “Mean Old World,” the steady shuffling “Sad Hours” offers the first use of Walter’s unique “warble” method that created a multi-dimensional sound for the instrument.

The second disc kicks off with one of Little Walter’s signature songs (and a blues standard), “Blues With A Feeling.” With Chess Records finally letting him put his soulful vocals up front alongside his instrumental prowess, the song was the perfect framing of mood and performance, drenched in emotion and bristling with energy.

Little Walter’s recording of Bo Diddley’s houserockin’ instrumental “Roller Coaster,” with Diddley himself providing some rattling fretwork alongside Walter’s frantic harp, represented something of a changing of the guards. By 1955, the commercial market was beginning to thin out for blues music as rock ‘n’ roll and rhythm & blues took over the charts. “Roller Coaster” would be the last of Walter’s instrumental hits.

Between 1956 and ‘58, Little Walter recorded a number of tracks that, while standing up with some of his best work, none of it proved to be a commercial success. Bo Diddley and Chuck Berry were Chess Records’ latest stars, and otherwise red-hot songs like the spry instrumental “Flying Saucer” or the hard-driving, Berry-styled rocker “It Ain’t Right” were ignored by record buyers.

In January 1959, Little Walter would record with guitarist Luther Tucker and pianist Otis Spann, producing a number of strong sides, although only one – the smoldering “Everything’s Gonna Be Alright” – would inch midway up the R&B chart. Benefiting from Spann’s rollicking piano-bashing, the song features one of Walter’s most emotional harp performances, the lonesome desperation of his solos matched by his mournful vocals.

Other songs recorded in 1959 showed that, while Walter’s skills with the harmonica remained unsurpassed, his once-expressive voice was slowly being eroded by alcohol. In some instances, his diminished vocal capabilities worked to his advantage, as in the tear-jerking “Blue And Lonesome.” Backed by Freddie Robinson’s hypnotic fretwork, Walter’s low-register vocals define sadness and depression, his blistering harp a reflection of his inner turmoil.

Little Walter’s commercial fortunes continued to decline from 1960 until his death in 1968, and the sessions he was offered became few and far between. Still, there are some treasures to be plucked from Walter’s increasingly obscure recordings. Willie Dixon’s “As Long As I Have You” is a precursor to the British blues-rock that would rise up during the ‘60s, the song full of switchblade guitar and rough-hewn vocals. From one of Walter’s last sessions, in 1967, a final shot of “Juke” recorded with Buddy Guy and Otis Spann would cement Little Walter’s legacy as the greatest.

Yeah, you’ve probably figured out that five discs, featuring better than two-dozen tracks apiece, is a heck of a lot of material to wade through, and you’d be right. Although The Complete Chess Masters (1950-1967) might only appeal to the most rabid of fans, it is also an important historical document. The set provides a portrait of a musical genius in the prime…and decline…of his talent, and it’s a worthwhile addition to the library of any serious blues collector. (Hip-O Select, released March 6th, 2009)

Review originally published by Blurt magazine

Archive Review: Bo Diddley, Muddy Waters & Little Walter's Super Blues (1967/2013)

The late 1960s were a difficult time for the good folks at Chess Records. The legendary Chicago blues label was struggling to stay relevant in the face of changing musical currents, and the 1950s commercial heyday of its biggest stars – marquee names like Bo Diddley, Chuck Berry, and Muddy Waters – had seemingly long since passed. This led to a number of various musical experiments, attempts to capture lightning in a bottle that extended well into the 1970s, long after the label had been sold before shutting down for good in 1975.

Although the label's experiments in electric blues, rock, and funk found varying levels of critical and commercial success, few of them prompted the debate garnered by 1967's Super Blues and the following year's The Super, Super Blues Band. The former featured the trio of Bo Diddley, Muddy Waters, and Little Walter Jacobs performing in an informal studio jam session, while the latter album replaced the late Little Walter with the great Howlin' Wolf. Super Blues is the better of the two releases, although the second is criminally underrated, and while blues traditionalists have largely dismissed both albums, they served as an important gateway to the blues for many young fans at the time of their release.

Bo Diddley, Muddy Waters & Little Walter's Super Blues

The truth is, Super Blues is a heck of a lot of fun! Although harp legend Little Walter was hanging on by a thread during the recording sessions, the backing band – including guitarist Buddy Guy and longtime Waters' sideman Otis Spann on piano – picked up the slack. The spotlight deservedly shines on Diddley and Waters, the two talents sparring with each other in the studio while delivering solid performances. Super Blues opens with the low-slung Waters' track "Long Distance Call," the master's slide-guitar complimented by Walter's subtle harp while the vocals are nicely split between all three men; Little Walter's hoarse, underpowered voice is overshadowed by the bravado of his co-stars.

Diddley's "Who Do You Love" is provided a reckless, almost riotous performance as Bo and Muddy jawbone with each other above the song's familiar, reliable rhythm. The guitars scream and soar while drummer Frank Kirkland and bassist Sonny Wimberley hold down a fat bottom line. Waters' signature song "I'm A Man" – actually penned by Diddley – represents a duel for the ages, the two aging stars vying for top dog status on a tale that in and of itself is fueled by ego-driven braggadocio. As the song's notorious riff circles the studio like a raging tornado, Waters and Diddley deliver a heavyweight championship bout that could only end in a draw.

You Can't Judge A Book By The Cover

Chicago blues legend Willie Dixon – a talented musician, producer, and songwriter – was instrumental in the success of both Diddley and Waters, so it's only right that he is represented on Super Blues by three of his better songs. "You Can't Judge A Book By Its Cover" was Diddley's last chart hit back in 1962, and had subsequently been covered by blues-loving rockers like the Rolling Stones and the Yardbirds. The version here is down and dirty, with unrelenting rhythms, a chaotic harp line, and chiming guitars dancing alongside Kirkland's machine-gun drumbeats. Waters' entry from the Dixon songbook, "I Just Want To Make Love To You," dates back to 1954 and represented one of the Chicago blues king's biggest hits. A bona fide blues standard, the song has also been successful in the hands of the Stones and, most notably, Foghat, although it's also been covered by Etta James, Chuck Berry, and Buddy Guy, among many others.

On Super Blues, "I Just Want To Make Love To You" is slowed to a smoldering, languid pace, the song's circular riff surrounding Waters' sultry vocals like a halo around his head, Walter spending the last of his strength blowing a fiery solo while Spann pounds the ivories like a madman. It's a strong performance, made all the more entertaining by the verbal jousting between Waters and Diddley. Little Walter takes the spotlight for a low-key replay of his 1955 Dixon-penned #1 hit "My Babe." The vocals are wisely shared by the three stars, as Walter's voice is barely heard in the mix, but it's an engaging performance nonetheless. The album closes with Diddley's spry "You Don't Love Me," Walter's jaunty harp paving the way for some imaginative fretwork on an electrified mix of blues and rock that was a good decade ahead of its time.

The Reverend's Bottom Line

Both Bo Diddley and Muddy Waters would experience ebbing fortunes in the wake of Super Blues and 1968's The Super, Super Blues Band. Although Diddley's commercial peak pre-dated the British invasion of the early-to-mid-1960s, his studio flirtations with funk and rock on albums like 1970's The Black Gladiator and 1972's Where It All Began failed to reignite his career, although they've since been reappraised as solid efforts. Hitting the rock 'n' roll oldies circuit, Diddley remained a popular live performer until his death in 2008.

By contrast, experiments like Waters' Electric Mud (1968) and After The Rain (1969), while doing little to breathe new life into the blues legend's then-moribund career, did lead to triumphs like 1969's Fathers and Sons album, recorded with Michael Bloomfield and Paul Butterfield, as well as The London Muddy Waters Sessions in 1972. These, in turn, led to Waters' late-career resurgence with a brace of albums produced by guitarist Johnny Winter, efforts like 1977's Hard Again and the following year's I'm Ready cementing Waters' already considerable legacy as the greatest the blues has to offer.

Super Blues is by no means a groundbreaking album, but it has withstood the test of time to become a minor classic in its own right, a raucous affair that's well worth another listen for Bo Diddley and Muddy Waters fans alike. Although this Get On Down Records 2013 reissue of Super Blues omits a pair of Little Walter songs from a previous 1992 CD reissue, considering Walter's health when they were recorded, listeners might be better off tracking down one of the esteemed bluesman's "greatest hits" albums for his timeless versions of the missing "Juke" and "Sad Hours." (Get On Down Records, released November 19, 2013)

Also on That Devil Music:
Muddy Waters' Electic Mud CD review
Bo Diddley's The Black Gladiator CD review

Archive Review: Bo Diddley's The Black Gladiator (1970/2012)

By the late 1960s, Bo Diddley wasn’t the musical force that he’d been almost a decade previous when cuts like “Road Runner” and “You Can’t Judge A Book By Its Cover” were burning up the R&B world even while they also inched onto the pop charts. Even worse, Diddley-influenced acolytes like the Rolling Stones, Jimi Hendrix, and Eric Clapton had become the new rock ‘n’ roll royalty, leaving Bo as a respected elder statesman and the architect of a revolution that he seemingly no longer had a role in shaping.

As a result, Diddley would turn back to his blues roots, recording a pair of albums with other Chess labelmates that re-purposed several of his rhythm-heavy hits with bluesier performances – 1967’s Super Blues, with Muddy Waters and Little Walter, and 1968’s The Super Super Blues Band, with Waters and Howlin’ Wolf. Neither of these albums did much to revive the flagging careers of the various participants and, in 1969, the unexpected happened when Leonard Chess, the patriarch of the Chess Records family, passed away. The label had already been sold to a company that had little or no idea what to do with its legendary catalog of music, or its rich stable of artists, further marginalizing Diddley’s career.

Bo Diddley's The Black Gladiator

When he entered Chicago’s Ter-Mar Studios in January 1970, the mighty Bo was faced with a daunting task – recording a follow-up to his last solo album, 1965’s 500% More Man. Black music hadn’t been standing still as Diddley was singing the blues with his fellow Chess label colleagues, and the popularity of both blues music and the sort of raucous, houserockin’ R&B that Diddley pioneered had been surpassed with young African-American listeners by the groove-laden funk of Sly & the Family Stone and the Parliament-Funkadelic empire. Similar to what had been done with Muddy Waters and Howlin’ Wolf in attempting to re-mold the old-school bluesmen as psychedelic-blues artists, The Black Gladiator saw Bo Diddley staking his claim as a funkateer in the new decade.

Disregarded by critics at the time, Diddley’s The Black Gladiator was a bold attempt at contemporary legitimacy by the often-misunderstood artist. Unlike Waters’ similarly-dismissed Electric Mud album, or even the Wolf’s This Is Howlin’ Wolf’s New Album, both of which tried to force the bluesmen into a stylistic straitjacket against their will, Diddley seemed to be a willing traveler on this particular musical sojourn. Working with a crew that included such long-time Diddley musical foils as bassist Chester Lindsey and drummer Clifton James, keyboardist Bobby Alexis was the lone new ingredient for this fresh musical direction, and his over-the-top key-pounding would often vie with, and push Diddley’s guitar-playing to new heights.

To be honest, The Black Gladiator is neither as bad as 1970s-era critics would claim, nor as seminal as the album’s newfound 21st century admirers would have you believe. It didn’t take a major leap of imagination to take Diddley’s rhythmic trademarks and stretch them out in the creation of a deeper, fatter groove, as the band does with the album-opening “Elephant Man.” Seemingly drowning in a sea of sound, the rhythm section builds a foundation on top of which Diddley sings/shouts his often-bodacious lyrics above his stinging guitar licks and Alexis’s chiming keyboards. The song evinces a slick groove and an undeniable anarchic spirit, and Diddley’s fretwork is truly inspired. The album’s lone throwback, “You, Bo Diddley,” is the sort of self-aggrandizing rap that Diddley made his reputation with, but while it sports a semi-modified Bo Diddley beat and energetic backing vocals, it’s at best a pale imitation of similar early 1960s performances.

Hot Buttered Blues

Much better is the fluid, funky “Black Soul,” which pairs raw production with a more assured Diddley vocal, Alexis’s livewire keyboard riffs, and a groove deep enough to drive a semi-truck through. Diddley’s wiry chicken-picking is supported by solid rhythm playing from an unknown second guitarist (thought to be his nephew, Ricky Jolivet a/k/a Bo Diddley Jr.). The muscular “Power House” offers the best of both worlds, welding a slowed-down version of the familiar swaggering Diddley beat with a fine, boastful vocal turn, scorching fretwork, and a swinging rhythm.

“I’ve Got A Feeling” opened the original vinyl album’s second side with an infectious funk that rivaled Sly Stone, the slightly-echoed production style providing a more immediate sound. Alexis’s often-discordant keys are part of the bass-drums cacophony upon which Bo embroiders some imaginative guitar lines as the vocals of backing singer Cooke Vee (Cornelia Redmond) were multi-tracked to create a “girl group” sound on a budget, an effective technique. The slow-burning “Hot Buttered Blues” is Bo’s lone nod towards the blues music he cut his teeth on, a loping groove rolling throughout the song as Bo ladles on some fine guitar in this ode to the Chicago blues scene.

Another of the album’s long-lost gems is “Funky Fly,” a blues-rock-funk hybrid with a greasy Mississippi Delta groove, a mesmerizing circular guitar riff that is often echoed by the keyboards, a jackhammer rhythm, and nonsensical shouts and noises that punctuate the song’s deadly instrument jamming. By contrast, “I Don’t Like You” is an odd bird, indeed, Diddley’s vocals mimicking an operatic aria, sounding like a cross between Bugs Bunny and Pavarotti. At the heart of the song is a game of “the numbers” as Bo and a second, higher-pitched voice hurl insults at each other above a slippery groove and choogling keyboards. The effect is disconcerting and absurd even for Diddley, who was certainly no stranger to musical flights of fancy.

The Reverend's Bottom Line

It’s safe to say that you’ve never heard Bo Diddley quite like this before! Out of the ten tracks on The Black Gladiator, six are fully-satisfying performances that display Bo’s larger than life personality and often-underrated musical skills, as well as the talents of his top-notch backing band. A couple of the songs here are merely so-so, passable but more filler-like in quality, and a couple of these tunes will chafe your eardrums.

It’s interesting to note that after releasing this album, Diddley would abandon his funk muse in an attempt to re-make himself as a contemporary songster with 1971’s Another Dimension album before finally returning to the blues, soul, and R&B on which his legacy was built. Overall, in re-considering The Black Gladiator, I’d give the album a B- for sheer chutzpah and a handful of innovative musical ideas. It’s not the Bo of lore, but it ain’t half-bad, either... (Light In The Attic Records, reissued 2012)

Buy the CD from Amazon.com: Bo Diddley's The Black Gladiator

Also on That Devil Music: Bo Diddley, Muddy Waters & Little Walter's Super Blues CD review

The Rolling Stones are Confessin’ The Blues

It’s not really a secret on either side of the Atlantic that British rock legends the Rolling Stones have long been fans and supporters of American blues music. The named themselves after a song by Chicago blues great Muddy Waters, and started their time-defying career in the early ‘60s as a blues and R&B covers band. The Stones have flirted with the blues ever since, celebrating their lengthy love affair with the release of the 2016 album Blue & Lonesome, a collection of heartfelt covers of classic blues tunes.

Given their relationship with, and knowledge of the blues, it only makes sense that the Stones’ band members could curate an authoritative collection of blues music. On November 9th, 2018 BMG and Universal Music will release Confessin’ The Blues, a 42-track collection of classic blues music chosen by the Stones and featuring red-hot tracks by folks like Muddy Waters, Howlin’ Wolf, John Lee Hooker, Robert Johnson, Elmore James, Chuck Berry, and many others. Confessin’ The Blues will be released in two-CD, double-vinyl, and a 5”x10” vinyl book-pack that mimics the original 78rpm releases. All versions feature liner notes by music journalist Colin Larkin while the book-pack includes removable art card prints by noted blues illustrator Christoph Mueller. The album’s cover was painted by Stones guitarist and resident artist Ron Wood.

The band and BMG decided that 10% of the label’s net receipts from the sale of the album will be donated to Willie Dixon’s Blues Heaven Foundation, an educational non-profit organization that keeps the history and spirit of the blues alive. Named after the legendary blues musician, songwriter, and producer Willie Dixon, the organization’s President and CEO Jacqueline Dixon says in a press release for the new album, “we are extremely honoured, grateful and humbled that Willie Dixon’s Blues Heaven Foundation has been included in such an astonishing project. It means so much that my father’s dream of creating an organisation that promotes, protects and preserves the Blues for future generations is being recognised and supported by artists that have achieved so much.”

Rolling Stones founding member and guitarist Keith Richards says it best, “if you don't know the blues... there’s no point in picking up the guitar and playing rock and roll or any other form of popular music.” The blues is where it all began and, judging the complete track listing below, Confessin’ The Blues includes some of the best music the genre has to offer. 

Confessin’ The Blues track listing: 

Disc One:
01. Muddy Waters - Rollin’ Stone
02. Howlin’ Wolf - Little Red Rooster
03. John Lee Hooker - Boogie Chillen
04. Little Walter - Hate To See You Go
05. Chuck Berry - Little Queenie
06. Bo Diddley - You Can’t Judge A Book By It’s Cover
07. Eddie Taylor - Ride ‘Em On Down
08. Slim Harpo - I’m A King Bee
09. Magic Sam - All Your Love
10. Elmore James - Dust My Broom
11. Little Walter - Just Your Fool
12. Muddy Waters - I Want To Be Loved
13. Big Bill Broonzy - Key To The Highway
14. Robert Johnson - Love In Vain Blues
15. Mississippi Fred McDowell - You Gotta Move
16. Jimmy Reed - Bright Lights, Big City
17. Big Maceo - Worried Life Blues
18. Little Johnny Taylor - Everybody Knows About My Good Thing (Part 1)
19. Howlin’ Wolf - Commit A Crime
20. Otis Rush - I Can’t Quit You Baby
21. Jay McShann & Walter Brown - Confessin’ The Blues

Disc Two:
1. Howlin’ Wolf - Just Like I Treat You
2. Little Walter - I Got To Go
3. Chuck Berry - Carol
4. Bo Diddley - Mona
5. Muddy Waters - I Just Want To Make Love To You
6. Elmore James - Blues Before Sunrise
7. Eddie Taylor - Bad Boy
8. Boy Blue - Boogie Children
9. Jimmy Reed - Little Rain
10. Robert Johnson - Stop Breakin’ Down Blues
11. Reverend Robert Wilkins - The Prodigal Son
12. Lightnin’ Slim - Hoodoo Blues
13. Billy Boy Arnold - Don’t Stay Out All Night
14. Bo Diddley - Craw Dad
15. Dale Hawkins - Suzie Q
16. Amos Milburn - Down The Road Apiece
17. Howlin’ Wolf - Little Baby
18. Little Walter - Blue and Lonesome
19. B.B. King - Rock Me Baby
20. Buddy Guy - Damn Right I’ve Got The Blues
21. Muddy Waters - Mannish Boy

Also on That Devil Music.com:
The Rolling Stones - Blue & Lonesome CD review