The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night-Billie’ s Truth- With Bo Diddley’s Bo Diddley In Mind

The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night-Billie’ s  Truth- With Bo Diddley’s Bo Diddley In Mind

Sketches From The Pen Of Frank Jackman 

Bo Diddley bought his babe a diamond ring
If that diamond ring don't shine
He gonna take it to a private eye
If that private eye can't see
He'd better not take the ring from me

Bo Diddley caught a nanny goat
To make his pretty baby a Sunday coat
Bo Diddley caught a bear cat
To make his pretty baby a Sunday hat

Mojo come to my house, ya black cat bone
Take my baby away from home
Ugly ole Mojo, where ya been?
Up your house and gone again
Bo Diddley, Bo Diddley have you heard?
My pretty baby said she was a bird

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ELLAS MCDANIEL

Published by
Lyrics © BMG RIGHTS MANAGEMENT US, LLC

*************

“Well,” Jeff Sterling said to himself, “there is no need to pussy foot around on this one.” He felt no need to step back to avoid any hurt feelings or regrets about the past. Not to the audience that had followed him memory trips back to the youth of the early baby-boomers in many of the half-read nostalgia drift magazines that he, now comfortably retired, had by-line in and read by among others those who thought his impressions were worth taking note of. Not earth-shattering taking note, his subject being various cultural quirks that he had taken pains to object over a lifetime and put to pen but of interest and let’s leave it at that. Jeff believed just that cultural quirk inspiration moment that there was only one big question before the house. The question before the house simply put-Who put the rock in rock ‘n’ roll?

What had brought this matter up, brought it to mind just then was that Jeff had gone up into his attic a few weeks before with the purpose of trying to thin his load of back copies of magazines and alternative newspapers in which his by-line appeared.  Looking through the August 1997 issue of the East Bay Other he noticed a review that he did of a Chess Records’ double CD, where Bo Diddley unabashedly staked his claim featured in a song by the same name, except, except it started out with the answer already answered in the affirmative. Yes, Bo Diddley had put the rock in rock ‘n’ roll. That was the central theme of Jeff’s review, the neglected role that Bo played in the creation of the rock beat. That review inspired Jeff to check out a Netflix DVD which highlighted Bo’s performance as part of the 30th anniversary celebration to see if his earlier opinion had held up. Had Bo’s part been rightly appreciated as part of the tidal wave of rock that swept through the post-World War II teenage population in 1955. Had Bo to use today’s terminology some “street cred” for that proposition.

One night a few week later Jeff was at Simmy’s Grille having a couple of drinks with his old high school friend and rock aficionado Sam Lowell and he mentioned to Sam the article his reasoning for his position. Sam had taken some notes (notes between drinks so reader beware) and began to think through his own feelings about Jeff’s proposition since in the “who invented rock” ongoing saga Sam had put his money on Ike Turner in his various incantations in the early 1950s, especially the riffs on Rocket 88. Some time later he put the notes into written form for Jeff to read. The following is what Sam was thinking:      

“Certainly there is no question that “black music,” “race record music,” if you like, in the early 1950s at least, previously confined to mainly black audiences down on the southern farms and small segregated towns and in the northern urban ghettos along with a ragtag coterie of “hip” whites in places like the Village, North Beach out in Frisco town, hell, even in a couple of places in staid old Harvard Square is central to the mix that became classic 1950s rock ‘n’ roll. That is not to deny the other important thread commonly called rockabilly (although if you had scratched a rockabilly artist and asked him or her for a list of influences black gospel and rhythm and blues would be right at the top of their list, including Elvis’). But here let’s just go with the black influences. No question my old first choice Ike Turner’s Rocket 88, Joe Turner’s Shake , Rattle and Roll and, I would add, Elmore James’ Look Yonder Wall are nothing but examples of R&B starting to break to a faster, more nuanced rock beat.

“Enter one Bo Diddley. Not only does he have the old country blues songbook down, and the post- World War II urbanization and electrification of those blues down, but he reaches back to the oldest traditions of black music, back before the American slavery plantations days, back to the Carib influences and even further back to earth mother African shores. In short, that “jungle music,” that “devil’s music” that every white mother and father (and not a few black ones as well), north and south was worried, no, frantically worried, would carry away their kids. Feared to have in their households and not a few banned anything to the left of the Inkspots and their eternal talking the lines of one verse of their song whatever the song. Feared mogrulization, feared for the neighborhood and feared for their daughters’ hidden lusts and sons’ lustful dreams. Feared that transistor radio they were forced to buy worrying what hellish music that they could not hear was being played up in Timmy or Dotty bedroom.     Well, we were washed away by the beat and we have proven none the worst for it.

Here is a little story from back in the 1950s days though that places old Bo’s claim in perspective and addresses the impact (and parental horror) that Bo and rock had on teenage (and late pre-teenage) kids, even in all white “projects” kids like me and my boys, my corner boys (although this housing project was so isolated from the rest of the town that it had no stores, pizza parlors, drugstores, even variety stores, for righteous corner boys to place their feet up on the walls in front of those establishments and so we consoled ourselves with the corner of the elementary school that served the neighborhood). In years like 1955, ’56, ’57 every self-respecting teenage boy (or almost teenage boy), under the influence of television “magic,” tried, one way or another, to imitate Elvis. From dress, to sideburns, to swiveling hips, to sneer (okay I will not dispute that the expression might have been a snarl not a sneer like a girlfriend, a short-lived girlfriend of the time, although not short-lived over this issue, claimed. Worse claimed that his snarly expression made Elvis sexier. Made usually rational young women, and some not so young, throw their sweaty undies up on his stage. Sneer or snarl that part she had right, the sexy part-for girls). Hell, I even bought a doo-wop comb to wear my hair like his. I should qualify this whole statement about Elvis’ effect a little and say every self-respecting boy who was aware of girls. And, additionally, aware that if you wanted to get any place with them, any place at all, you had better be something like the second coming of Elvis.

Enter now, one eleven year old William James Bradley, “Billie,” my bosom buddy in old elementary school days. (By the way that Billie is not some misspelling or some homage to Billie Holiday whom he would have been clueless about then but to distinguish him from father Billy and more personally because he did not want a name whose spelling reminded him of a damn billy-goat.) Billie was wild for girls way before I acknowledged their existence, or at least their charms. He was always invited, invited early in the inviting time, to all kinds of boy-girl parties, okay “petting parties” since this was a while back and no parents are around even by girls who had gotten their shape. Me, well, I got a few invites, maybe backup invites when about sixteen other guys said no, to parties by sticks (girls who for some reason had not gotten their shapes yet). 

Billie decided, and rightly so I think, to try a different tack. Tried to be a pioneer by not following the crowd (a trait that would not stand him in good stead later, late teenage later, when he decided the deck was stacked against him and took up robberies and assorted other felonies but that was long after we had parted company, had parted neighborhoods and I had decided, although it was a close thing, that crime was not my forte). Instead of forming the end of the line in the Elvis imitation department he decided to imitate Bo Diddley. At this time we were all playing the song Bo Diddley and, I think, Who Do You Love? like crazy. Elvis bopped, no question. But Bo’s beat spoke to something more primordial, something connected, unconsciously to our way back ancestry. Something mysterious, something with raw physicality although this is mostly later rationalizations which neither Billie nor I would have been capable of articulating back then. Even an old clumsy white boy like me could sway to the beat, could fake enough moves to get by, get by where it counted on the dance floor.

Of course like I said that last bit was nothing but a now time explanation for what drove us to the music. Then we didn’t know the roots of rock, or probably didn’t care (although Billie’s small room was filled with a fair number of fan magazines and the like so he probably like in lots of things then could have given a pretty adult read on what was happening if he had been asked), except our parents didn’t like it, and were sometimes willing to put the stop to our listening. Praise be for transistor radios (younger readers look that up on Wikipedia) to get around their madness.

But see, Billie also, at that time, did not know what Bo looked like so he assumed that he was a sort of Buddy Holly look alike, complete with glasses and that single curled hair strand. Billie, naturally, like I say, was nothing but a top-dog dancer, and wired into girl-dom like crazy. And they were starting to like him too. One night he showed up at a local church catholic, chaste, virginal priest-chaperoned dance with this faux Buddy Holly look. Some older guy meaning maybe sixteen or seventeen, wise to the rock scene well beyond our experiences, asked Billy what he was trying to do. Billie said, innocently, that he was something like the seventh son of the seventh son of Bo Diddley. This older guy laughed, laughed a big laugh and drew everyone’s attention to himself and Billie. Then he yelled out, yelled out for all the girls to hear “Billie boy here wants to be Bo Diddley, he wants to be nothing but a jungle bunny music N----r boy”. All went quiet. Billie ran out, and I ran after, out the back door. I couldn’t find him that night.

See, Billie and I were clueless about Bo’s race. We just thought it was all rock (read: white music) then and didn’t know much about the black part of it, or the south part, or the segregated part either. We did know though what the n----r part meant in our all-white housing project and here was the kicker. Next day Billie strutted into school looking like the seventh son of the seventh son of Elvis. But as he got himself propped up against that endless train to the end of that line I could see, and can see very clearly even now, that the steam has gone out of him. So when somebody asks you who put the rock in rock ‘n’ roll know that old Bo’s claim was right on track, and he had to clear some very high racial and social hurdles to make that claim. Just ask Billie.”

After Jeff had read Sam’s sketch he said that Sam had done justice to Billie and Sam agreed that he had but Jeff felt a little queasy about Bo, about heroic Bo who seemed to play sideman to Billie there. In the interest of completion Jeff persuaded Sam to include an old time quick review of his of one of Bo’s compilations to make up for any omissions: 

“The last time I had occasion to mention the late Bo Diddley in this space [Jeff’s by-line for the East Bay Eye] was in connection with a series of interviews and performances along with Chuck Berry, Little Richard and others in Keith Richards' Chuck Berry tribute film "Hail, Hail Rock and Roll." The talk centered, rightly, on the dismal fate of many black recording artists who developed what would become Rock 'n' Roll when the white artists like Elvis took it over and reaped the benefits of a mass audience. Well, those interviews occurred a while ago, back in the 1980's, but Bo's sense of not having been properly recognized I believe remained until his death. Yet, when one thinks of the sounds created by the founders of Rock 'n' Roll can anyone deny that Bo's primal beat was not central to that explosion? I think not.

Here, in one album we have, if not all of Bo's creative work then a good part of it, at least a good place to start. Of course, the classic song Bo Diddley and its offshoots and variations are here. However, the one Diddley song that will probably outlive them all is Who Do You Love? Although not a theme song it nevertheless expresses the raw energy of rhythm and blues/ rock/ carib sound like no other. Hell, George Thoroughgood was able to make a whole career on the basis of having covered that song and other of Bo's work (and to be fair, covering the work of Elmore James and Hound Dog Taylor as well[CL1] ).

And that is a good point to finish on. The really great rockers, and Bo is in that company, unlike the one-shot johnnies get covered because their work expresses something that someone else later wishes to high heaven that they had created. (George has been quoted directly on that “wishing he had created” point.) Finally, I give the same warning here as others have given in their comments about the sameness of this Chess 50th Anniversary CD from 1997 and a current one entitled The Definitive Bo Diddley Collection issued in 2007. Get one or the other and save those pennies to get more of Bo's work. "I said- I'm just 22 and I don't mind dying. Who do you love?" Thanks for that line Bo. Kudos.]

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 [CL1]

In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-Out in the Be-Bop Night- Bo Diddley- Who Put The Rock In Rock 'n’ Roll?

Click on the headline to link to a YouTube film clip of Bo Diddley performing his rock classic Bo Diddley.

In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-Out in the Be-Bop Night- Bo Diddley- Who Put The Rock In Rock 'n’ Roll?

DVD Review

Rock ‘n’ Rock All-Star Jam: Bo Diddley, Bob Diddley, Ron Woods, and other artists,1985

Well, there is no need to pussy foot around on this one. The question before the house is who put the rock in rock ‘n’ roll. And here in this one hour all-star concert documentary, complete with background backstage footage, Bo Diddley unabashedly stakes his claim that was featured in a song by the same name, except, except it starts out with the answer. Yes, Bo Diddley put the rock in rock ‘n’ roll. And off his performance here as part of the 30th anniversary celebration of the tidal wave of rock that swept through the post World War II teenage population in 1955 he has some “street cred” for that proposition.

Certainly there is no question that black music, in the early 1950s at least, previously confined to mainly black audiences down on the southern farms and small segregated towns and in the northern urban ghettos along with a ragtag coterie of “hip” whites is central to the mix that became classic 1950s rock ‘n’ roll. That is not to deny the other important thread commonly called rockabilly (although if you had scratched a rockabilly artist and asked him or her for a list of influences black gospel and rhythm and blues would be right at the top of their list, including Elvis’). But here let’s just go with the black influences. No question Ike Turner’s Rocket 88, Joe Turner’s Shake , Rattle and Roll and, I would add, Elmore James’ Look Yonder Wall are nothing but examples of R&B starting to break to a faster, more nuanced rock beat.

Enter one Bo Diddley. No only does he have the old country blues songbook down, and the post- World War II urbanization and electrification of those blues down, but he reaches back to the oldest traditions of black music, back before the American slavery plantations days, back to the Carib influences and even further back to earth mother African shores. In short, that “jungle music”, that “devil’s music” that every white mother and father (and not a few black ones as well), north and south was worried, no, frantically worried would carry away their kids. Well, it did and we are none the worst for it.

Here is a little story from back in the 1950s days though that places old Bo’s claim in perspective and addresses the impact (and parental horror) that Bo and rock had on teenage (and late pre-teenage) kids, even all white “projects” kids like me and my boys. In years like 1955, ’56, ’57 every self-respecting teenage boy (or almost teenage boy), under the influence of television, tried, one way or another, to imitate Elvis. From dress, to sideburns, to swiveling hips, to sneer. Hell, I even bought a doo-wop comb to wear my hair like his. I should qualify that statement a little and say every self-respecting boy who was aware of girls. And, additionally, aware that if you wanted to get any place with them, any place at all, you had better be something like the second coming of Elvis.

Enter now, one eleven year old William James Bradley, “Billie”, my bosom buddy in old elementary school days. Billie was wild for girls way before I acknowledged their existence, or at least their charms. Billie decided, and rightly so I think, to try a different tack. Instead of forming the end of the line in the Elvis imitation department he decided to imitate Bo Diddley. At this time we are playing the song Bo Diddley and, I think, Who Do You Love? like crazy. Elvis bopped, no question. But Bo’s beat spoke to something more primordial, something connected, unconsciously to our way back ancestry. Even an old clumsy white boy like me could sway to the beat.

Of course that last sentence is nothing but a now time explanation for what drove us to the music. Then we didn’t know the roots of rock, or probably care, except our parents didn’t like it, and were sometimes willing to put the stop to our listening. Praise be for transistor radios (younger readers look that up on Wikipedia) to get around their madness.

But see, Billie also, at that time, did not know what Bo looked like. Nor did I. So his idea of imitating Bo was to set himself up as a sort of Buddy Holly look alike, complete with glasses and that single curled hair strand.

Billie, naturally, like I say, was nothing but a top dog dancer, and wired into girl-dom like crazy. And they were starting to like him too. One night he showed up at a local church catholic, chaste, virginal priest-chaperoned dance with this faux Buddy Holly look. Some older guy meaning maybe sixteen or seventeen, wise to the rock scene well beyond our experiences, asked Billy what he was trying to do. Billie said, innocently, that he was something like the seventh son of the seventh son of Bo Diddley. This older guy laughed, laughed a big laugh and drew everyone’s attention to himself and Billie. Then he yelled out, yelled out for all the girls to hear “Billie boy here wants to be Bo Diddley, he wants to be nothing but a jungle bunny music N----r boy”. All goes quiet. Billie runs out, and I run after, out the back door. I couldn’t find him that night.

See, Billie and I were clueless about Bo’s race. We just thought it was all rock (read: white music) then and didn’t know much about the black part of it, or the south part, or the segregated part either. We did know though what the n----r part meant in our all white housing project and here was the kicker. Next day Billie strutted into school looking like the seventh son of the seventh son of Elvis. But as he got to the end of the line I could see, and can see very clearly even now, that the steam has gone out of him. So when somebody asks you who put the rock in rock ‘n’ roll know that old Bo’s claim was right on track, and he had to clear some very high racial and social hurdles to make that claim. Just ask Billie.

The Summer Of Love, 1967-Out In The Be-Bop 1960s Night- Rock ‘n’ Roll Will Never Die- British Style- “Pirate Radio”- A Film Review

Click on the headline to link to a YouTube film clip of the movie trailer for Pirate Radio.

DVD Review

Pirate Radio, Phillip Seymour Hoffman, directed by Richard Curtis, Focus Film, 2009


First Question: Who put the rock in rock ‘n’ roll? Well, of course, Bo Diddley (okay, okay others too). Second Question: Who brought rock ‘n’ roll to your double-locked bedroom, dank cellar, storage-filled garage, or other secret ear place back in old time battery-operated transistor radio (pre-iPod, alright) days? Well, of course, your local dee-jay who helped you while away your night, your dream-plagued rock ‘n’ roll night, with his (mainly) mile-a-minute-banter, selection of platters (records, pre-CD, DVD, iTune, youtube, you’ve heard about them, right?), and, yes, selected advertising targeted to the newly enriched (maybe) teenager with disposable dollars. Such names as Allan Freed, Wolfman Jack, Murry the K, and Arnie Ginsberg come quickly to mind. And although the music, praise be, outlasted the careers and remembrance of that lot this classic rock period is associated in my mind (and yours too, I bet) with that very dee-jay night. And that, my friends, is the premise behind this very nicely done trip down rock memory land- British version.

In many ways the British 1960s rock explosion paralleled the American classic rock scene, although later than that genre’s American 1950s heyday. The greatest difference, however, is the way that British audiences heard their rock- literally through the pirate radio of the title. Off-shore, out in the ocean depths, white waves splashing against some barnacled old tub of a ship, rock radio. Without getting into the ins and outs of British broadcasting traditions the battle, the age-old battle really, here is between those who wanted to listen to rock and not just in that double-locked bedroom mentioned above, and those nasty governmental officials and their hangers-on who want to outlaw it by shutting down this uncontrolled method. That battle drives the tension and plot line to almost bizarre (by today’s cyberspace standards) ends. But what this film is about is a bunch of guys (mainly, again) who loved to play rock, who loved to present it in their own fashion, and who wanted the fame, fortune (and, incidental sex) that came with heroic dee-jay-dom.

This motley crew is ready to go down with the ship, literally, in order to keep rock freedom alive. Of course there are more than a few gag (British gag, ala Monty Python) scenes that are better left unmentioned but this is a feel good movie with plenty of drugs, sex, and rock and roll on the high seas. Jesus. You might ask what was wrong with that? Ah, come to think of it what was wrong with that? The cast includes Phillip Seymour Hoffman (a very versatile actor when you realize that he also played American novelist Truman Capote in the In Cold Blood execution-driven drama Tru) as the Count, the only American in the lot. But this whole mix of radio personalities is a good out in the seas rock night, late night, early morning and so on. So, here is the drill. Bo (and, yes, others) put the rock in rock ‘n’ roll but the Count and the boys put the bop in the be-bop pirate radio night. See this one.

In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-*In Honor Of The Late Bo Diddley-"Who Do You Love?", Indeed

Click on the headline to link to a "YouTube" film clip of Bo Diddley performing his classic, "Who Do You Love?"

In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-*In Honor Of The Late Bo Diddley-"Who Do You Love?", Indeed


CD REVIEW

The Best of Bo Diddley, Chess Records, 1997

The last time I had occasion to mention the late Bo Diddley in this space was in connection with a series of interviews and performances along with Chuck Berry, Little Richard and others in Keith Richards' Chuck Berry tribute film "Hail, Hail Rock and Roll." The talk centered, rightly, on the dismal fate of many black recording artists who developed what would become Rock 'n' Roll when the white artists like Elvis took it over and reaped the benefits of a mass audience. Well, those interviews occurred a while ago, back in the 1980's, but Bo's sense of not having been properly recognized I believe remained until his death. Yet, when one thinks of the sounds created by the founders of Rock 'n' Roll can anyone deny that Bo's primal beat was not central to that explosion? I think not.

Here, in one album we have, if not all of Bo's creative work then a good part of it, at least a good place to start. Of course, the classic song Bo Diddley and its offshoots and variations are here. However, the one Diddley song that will probably outlive them all is "Who Do You Love?". Although not a theme song it nevertheless expresses the raw energy of rhythm and blues/ rock/ carib sound like not other. Hell, George Thoroughgood was able to make a whole career on the basis of having covered that song and other of Bo's work (and to be fair, covering the work of Elmore James and Hound Dog Taylor as well).

And that is a good point to finish on. The really great rockers, and Bo is in that company, unlike the one-shot johnnies get covered because their work expresses something that someone else later wishes to high heaven that they had created. (George has been quoted directly on that point.) Finally, I give the same warning here as others have given in their comments about the sameness of this Chess 50th Anniversary CD from 1997 and a current one entitled "The Definitive Bo Diddley Collection" issued in 2007. Get one or the other and save those pennies to get more of Bo's work. "I said- I'm just 22 and I don't mind dying. Who do you love?" Thanks for that line Bo. Kudos


Who Do You Love?
Bo Diddley

I walked 47 miles of barbed wire,
Used a cobra snake for a neck tie.
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 darling let's take a little walk, tell me,
Who do you love,
Who do you love, Who do you love, Who do you love.

Arlene took me by the hand,
And said oooh eeeh daddy I understand.
Who do you love,
Who do you love, Who do you love, Who do you love.
The night was black and the night was blue,
And around the corner an ice wagon flew.
A bump was a hittin' lord and somebody screemed,
You should have heard just what I seen.
Who do you love, Who do you love, Who do you love, Who do you love.

Arleen took me by my hand, she said Ooo-ee Bo you know I understand
I got a tombstone hand and a graveyard mind,
I lived long enough and I ain't scared of dying.

Who do you love (4x's)

by Bo Diddley

***Out in the Be-Bop Night- Bo Diddley- Who Put The Rock In Rock 'n’ Roll?

Out in the Be-Bop Night- Bo Diddley- Who Put The Rock In Rock 'n’ Roll?

In Honor Of The Late Rocker Chuck Berry Who Helped Make It All Possible-Out in the Be-Bop Night- Bo Diddley- Who Put The Rock In Rock 'n’ Roll?

CD Review

Bo Diddley: Two On One, Bo Diddley, Chess Records, 1986

Well, there is no need to pussy foot around on this one. The question before the house is who put the rock in rock ‘n’ roll. And here in this Chess Records double CD, Bo Diddley unabashedly stakes his claim that was featured in a song by the same name, except, except it starts out with the answer. Yes, Bo Diddley put the rock in rock ‘n’ roll. And off his performance here as part of the 30th anniversary celebration of the tidal wave of rock that swept through the post-World War II teenage population in 1955 he has some “street cred” for that proposition.

Certainly there is no question that black music, in the early 1950s at least, previously confined to mainly black audiences down on the southern farms and small segregated towns and in the northern urban ghettos along with a ragtag coterie of “hip” whites is central to the mix that became classic 1950s rock ‘n’ roll. That is not to deny the other important thread commonly called rockabilly (although if you had scratched a rockabilly artist and asked him or her for a list of influences black gospel and rhythm and blues would be right at the top of their list, including Elvis’). But here let’s just go with the black influences. No question Ike Turner’s Rocket 88, Joe Turner’s Shake , Rattle and Roll and, I would add, Elmore James’ Look Yonder Wall are nothing but examples of R&B starting to break to a faster, more nuanced rock beat.

Enter one Bo Diddley. No only does he have the old country blues songbook down, and the post- World War II urbanization and electrification of those blues down, but he reaches back to the oldest traditions of black music, back before the American slavery plantations days, back to the Carib influences and even further back to earth mother African shores. In short, that “jungle music,” that “devil’s music” that every white mother and father (and not a few black ones as well), north and south was worried, no, frantically worried, would carry away their kids. Well, it did and we are none the worst for it.

Here is a little story from back in the 1950s days though that places old Bo’s claim in perspective and addresses the impact (and parental horror) that Bo and rock had on teenage (and late pre-teenage) kids, even all white “projects” kids like me and my boys. In years like 1955, ’56, ’57 every self-respecting teenage boy (or almost teenage boy), under the influence of television, tried, one way or another, to imitate Elvis. From dress, to sideburns, to swiveling hips, to sneer. Hell, I even bought a doo-wop comb to wear my hair like his. I should qualify that statement a little and say every self-respecting boy who was aware of girls. And, additionally, aware that if you wanted to get any place with them, any place at all, you had better be something like the second coming of Elvis.

Enter now, one eleven year old William James Bradley, “Billie”, my bosom buddy in old elementary school days. Billie was wild for girls way before I acknowledged their existence, or at least their charms. Billie decided, and rightly so I think, to try a different tack. Instead of forming the end of the line in the Elvis imitation department he decided to imitate Bo Diddley. At this time we are playing the song Bo Diddley and, I think, Who Do You Love? like crazy. Elvis bopped, no question. But Bo’s beat spoke to something more primordial, something connected, unconsciously to our way back ancestry. Even an old clumsy white boy like me could sway to the beat.

Of course that last sentence is nothing but a now time explanation for what drove us to the music. Then we didn’t know the roots of rock, or probably care, except our parents didn’t like it, and were sometimes willing to put the stop to our listening. Praise be for transistor radios (younger readers look that up on Wikipedia) to get around their madness.

But see, Billie also, at that time, did not know what Bo looked like. Nor did I. So his idea of imitating Bo was to set himself up as a sort of Buddy Holly look alike, complete with glasses and that single curled hair strand.

Billie, naturally, like I say, was nothing but a top-dog dancer, and wired into girl-dom like crazy. And they were starting to like him too. One night he showed up at a local church catholic, chaste, virginal priest-chaperoned dance with this faux Buddy Holly look. Some older guy meaning maybe sixteen or seventeen, wise to the rock scene well beyond our experiences, asked Billy what he was trying to do. Billie said, innocently, that he was something like the seventh son of the seventh son of Bo Diddley. This older guy laughed, laughed a big laugh and drew everyone’s attention to himself and Billie. Then he yelled out, yelled out for all the girls to hear “Billie boy here wants to be Bo Diddley, he wants to be nothing but a jungle bunny music N----r boy”. All goes quiet. Billie runs out, and I run after, out the back door. I couldn’t find him that night.

See, Billie and I were clueless about Bo’s race. We just thought it was all rock (read: white music) then and didn’t know much about the black part of it, or the south part, or the segregated part either. We did know though what the n----r part meant in our all-white housing project and here was the kicker. Next day Billie strutted into school looking like the seventh son of the seventh son of Elvis. But as he got to the end of that line I could see, and can see very clearly even now, that the steam has gone out of him. So when somebody asks you who put the rock in rock ‘n’ roll know that old Bo’s claim was right on track, and he had to clear some very high racial and social hurdles to make that claim. Just ask Billie.

“I Said, Who Do You Love”-Again-The Raucous Music Of George Thorogood And The Destroyers

Click on the title to link to "YouTube"'s film clip of George Thorogood and The Destroyers performing their version of the John Lee Hooker classic, "One Bourbon, One Scotch One Beer".

CD Review

Extended Versions, George Thorogood and the Destroyers, BMG Special Product, 2000

A couple of years ago when Bo Diddley died I mentioned in a review of his work that many latter musicians, particularly white musicians were influenced by his songs, and covered them like crazy. That is the case with George Thorogood, with or without his Destroyers. Although he is probably best known for his bad boy anthem, “Bad To The Bone” Thorogood cut his teeth on doing covers of Bo, John Lee Hooker, Muddy Waters and the other greats of the blues and early rock and roll. That is how we should measure his work, as an exponent of a certain kind or of rock and R&B.

This album delivers extended versions of his master works including: the afore-mentioned “Bad To The Bone,” the classic Bo Diddley tune “Who Do You Love,” and the classic Hooker song “One Bourbon, One Scotch, One Beer”. Not the best versions technically but they give an idea of what old George and boys could do on a so-so night.

"1 Bourbon, 1 Scotch, 1 Beer"

Wanna tell you a story,
About the house-man blues
I come home one Friday,
Had to tell the landlady I'd-a lost my job
She said that don't confront me,
Long as I get my money next Friday
Now next Friday come I didn't get the rent,
And out the door I went

So I goes to the landlady,
I said, "You let me slide?"
I'll have the rent for you in a month.
Next I don't know
So said let me slide it on you know people,
I notice when I come home in the evening
She ain't got nothing nice to say to me,
But for five year she was so nice
Loh' she was lovy-dovy,
I come home one particular evening
The landlady said, "You got the rent money yet?",
I said, "No, can't find no job"
Therefore I ain't got no money to pay the rent
She said "I don't believe you're tryin' to find no job"
Said "I seen you today you was standin' on a corner,
Leaning up against a post"
I said "But I'm tired, I've been walkin' all day"
She said "That don't confront me,
Long as I get my money next Friday"
Now next Friday come I didn't have the rent,
And out the door I went

So I go down the streets,
Down to my good friend's house
I said "Look man I'm outdoors you know,
Can I stay with you maybe a couple days?"
He said "Let me go and ask my wife"
He come out of the house,
I could see it in his face
I know that was no
He said "I don't know man, ah she kinda funny, you know"
I said "I know, everybody funny, now you funny too"
So I go back home
I tell the landlady I got a job, I'm gonna pay the rent
She said "Yeah?" I said "Oh yeah"
And then she was so nice,
Loh' she was lovy-dovy
So I go in my room, pack up my things and I go,
I slip on out the back door and down the streets I go
She a-howlin' about the front rent, she'll be lucky to get any back rent,
She ain't gonna get none of it
So I stop in the local bar you know people,
I go to the bar, I ring my coat, I call the bartender
Said "Look man, come down here", he got down there
So what you want?

One bourbon, one scotch, one beer
Well I ain't seen my baby since I don't know when,
I've been drinking bourbon, whiskey, scotch and gin
Gonna get high man I'm gonna get loose,
Need me a triple shot of that juice
Gonna get drunk don't you have no fear
I want one bourbon, one scotch and one beer
One bourbon, one scotch, one beer

But I'm sitting now at the bar,
I'm getting drunk, I'm feelin' mellow
I'm drinkin' bourbon, I'm drinkin' scotch, I'm drinkin' beer
Looked down the bar, here come the bartender
I said "Look man, come down here"
So what you want?

One bourbon, one scotch, one beer
No I ain't seen my baby since the night before last,
Gotta get a drink man I'm gonna get gassed
Gonna get high man I ain't had enough,
Need me a triple shot of that stuff
Gonna get drunk won't you listen right here,
I want one bourbon, one shot and one beer
One bourbon, one scotch, one beer

Now by this time I'm plenty high,
You know when your mouth a-getting dry you're plenty high
Looked down the bar I say to my bartender
I said "Look man, come down here", he got down there
So what you want this time?
I said "Look man, a-what time is it?"
He said "The clock on the wall say three o'clock
Last call for alcohol, so what you need?"

One bourbon, one scotch, one beer
No I ain't seen my baby since a nigh' and a week,
Gotta get drunk man till I can't even speak
Gonna get high man listen to me,
One drink ain't enough Jack you better make it three
I wanna get drunk I'm gonna make it real clear,
I want one bourbon, one scotch and one beer
One bourbon, one scotch, one beer

*“I Said, Who Do You Love”- The Raucous Music Of George Thorogood And The Destroyers

Click on the title to link to YouTube's film clip of George Thorogood and The Destroyers performing "Bad To The Bone".

CD Review

Anthology, George Thorogood And The Destroyers, 1999

A while back when Bo Diddley died I mentioned in a review of his work that many latter musicians, particularly white musicians were influenced by his songs, and covered them like crazy. That is the case with George Thorogood, with or without his Destroyers. Although he is probably best known for his bad boy anthem, “Bad To The Bone” Thorogood cut his teeth on doing covers of Bo, John Lee Hooker, Muddy Waters and the other greats of the blues and early rock and roll. That is how we should measure his work, as an exponent of a certain kind or of rock and R&B. This album delivers some of that although his best work is in other albums. The stick outs here are: “Nine Lives,” and “Rockin’ The Walk”.

George Thorogood & the Destroyers - Bad to the Bone Lyrics

On the day I was born, the nurses all gathered 'round
And they gazed in wide wonder, at the joy they had found
The head nurse spoke up, and she said leave this one alone
She could tell right away, that I was bad to the bone
Bad to the bone
Bad to the bone
B-B-B-B-Bad to the bone
B-B-B-B-Bad
B-B-B-B-Bad
Bad to the bone

I broke a thousand hearts, before I met you
I'll break a thousand more baby, before I am through
I wanna be yours pretty baby, yours and yours alone
I'm here to tell ya honey, that I'm bad to the bone
Bad to the bone
B-B-B-Bad
B-B-B-Bad
B-B-B-Bad
Bad to the bone

I make a rich woman beg, I'll make a good woman steal
I'll make an old woman blush, and make a young woman squeal
I wanna be yours pretty baby, yours and yours alone
I'm here to tell ya honey, that I'm bad to the bone
B-B-B-B-Bad
B-B-B-B-Bad
B-B-B-B-Bad
Bad to the bone

Out in the 1950s Be-Bop Night- Bo Diddley- Who Put The Rock In Rock 'n’ Roll?

Click on the headline to link to a YouTube film clip of Bo Diddley performing his rock classic Bo Diddley.

DVD Review

Rock ‘n’ Rock All-Star Jam: Bo Diddley, Bob Diddley, Ron Woods, and other artists,1985

Well, there is no need to pussy foot around on this one. The question before the house is who put the rock in rock ‘n’ roll. And here in this one hour all-star concert documentary, complete with background backstage footage, Bo Diddley unabashedly stakes his claim to the title that was featured in a song of his by the same name, except, except it starts out with the answer. Yes, Bo Diddley put the rock in rock ‘n’ roll. And off his performance here as part of the 30th anniversary celebration of the tidal wave of rock that swept through the post-World War II teenage population in 1955 he has some “street cred” for that proposition.

Certainly there is no question that black music, in the early 1950s at least, previously confined to mainly black audiences down on the southern farms and small segregated towns and in the northern urban ghettos, centrally New York City, Chicago and Detroit, along with a ragtag coterie of “hip” whites (located in such urban oases as Greenwich Village, Harvard Square and North Beach out on the western blue-pink sky great American rim) is central to the mix that became classic 1950s rock ‘n’ roll. That is not to deny the other important thread commonly called rockabilly (although if you had scratched a rockabilly artist and asked him or her for a list of influences black gospel and rhythm and blues would be right at the top of their list, including Elvis’). But here let’s just go with the black influences. No question Ike Turner’s Rocket 88, Joe Turner’s Shake , Rattle and Roll and, I would add, Elmore James’ Look Yonder Wall are nothing but examples of R&B starting to break to a faster, more nuanced rock beat.

Enter one Bo Diddley. Not only does he have the old country blues songbook down, and the post- World War II urbanization and electrification of those blues down, but he reaches back to the oldest traditions of black music, back before the American slavery plantations days, back to the Carib influences and even further back to earth mother African shores. In short, that “jungle music”, that “devil’s music” that every white mother and father (and not a few black ones as well), north and south, was worried, no, frantically worried would carry away their kids. Well, it did and we are none the worst for it.

Here is a little story from back in the 1950s days though that places old Bo’s claim in perspective and addresses the impact (and parental horror) that Bo and rock had on teenage (and late pre-teenage) kids, even all white “projects” kids like me and my beat down corner boys. In rock birth years, like 1955, ’56, ’57 every self-respecting teenage boy (or almost teenage boy), under the influence of omnipresent black and white television, tried, one way or another, to imitate Elvis. From his off-hand casual dress, to his sideburns, to swiveling hips, to sneer. Hell, I even bought a be-bop doo-wop comb to wear my hair like his. I should qualify this statement a little and say every self-respecting boy who was aware of girls tried the Elvis trick. And, additionally, became acutely aware that if you wanted to get any place with them, any place at all, you had better be something like the second coming of Elvis.

Enter now, one eleven year old William James Bradley, “Billie,” my bosom buddy in those old Adamsville South elementary school days. Billie was wild for girls way before I acknowledged their existence, or at least their charms. Billie decided, and rightly so I think, to try a different tack. Instead of forming up at the end of the line in the Elvis imitation department he decided to imitate Bo Diddley. At that time we were playing the song Bo Diddley and, I think, Who Do You Love? like crazy. Elvis bopped, no question. But Bo’s beat spoke to something more primordial, something connected, unconsciously to our way back ancestry. Even a clumsy white boy like me could sway to the beat.

Of course that last sentence is nothing but a now time explanation for what drove us to the music. Then we didn’t know the roots of rock, or probably care, except our parents didn’t like it, and were sometimes willing to put the stop to our listening. Praise be for transistor radios (younger readers look that up on Wikipedia) to get around their madness, their cold war night parental madness that enveloped us all.

But see, Billie also, just at that beginning break-out time, did not know what Bo looked like. Nor did I. So his idea of imitating Bo was to set himself up as a sort of a Buddy Holly look alike, complete with glasses and that single curled hair strand.

Billie, naturally, like I say, was nothing but a top-dog dancer, and wired into girl-dom like crazy. And they were starting to like him too. One night he showed up at a local church catholic, chaste, virginal priest-chaperoned dance with this faux-Buddy Holly look. Some older guy meaning maybe sixteen or seventeen, wise to the rock scene well beyond our experiences, asked Billy what he was trying to do. Billie said, innocently, that he was something like the seventh son of the seventh son of Bo Diddley. This older guy laughed, laughed a big laugh and drew everyone’s attention to himself and Billie. Then he yelled out, yelled out for all the girls to hear “Billie boy here wants to be Bo Diddley, he wants to be nothing but a jungle bunny music N----r boy”. All went quiet. Billie ran out of the hall, and I ran after him, out the back door. I couldn’t find him that night.

See, Billie and I were clueless about Bo’s race. We just thought it was all rock (read: white music) then and didn’t know much about the black part of it, or the south part, or the segregated part either. We did know though what the n----r part meant in our all white housing project. And here was the kicker. Next day Billie strutted into school looking like the seventh son of the seventh son of Elvis. But as he got to the end of the line I could see, and can see very clearly even now, that the steam had gone out of him. So when somebody asks you who put the rock in rock ‘n’ roll know that old Bo’s claim was right on track, and he had to clear some very high racial and social hurdles to make that claim. Just ask Billie.

*Once Again-The Never-Ending Review Tour-Coming Of Age, Period- Oldies But Goodies

Click on the headline to link to a YouTube film clip of Bo Diddley performing his classic Bo Diddley.

CD Review

Oldies But Goodies, Volume Ten, Original Sound Record Co., 1986

I have been doing a series of commentaries elsewhere on another site on my coming of political age in the early 1960s, but here when I am writing about musical influences I am just speaking of my coming of age, period, which was not necessarily the same thing. No question that those of us who came of age in the 1950s are truly children of rock and roll. We were there, whether we appreciated it or not at the time, when the first, sputtering, musical moves away from ballady Broadway show tunes and rhymey Tin Pan Alley pieces hit the radio airwaves. (If you do not know what a radio is then ask your parents or, ouch, grandparents, please.) And, most importantly, we were there when the music moved away from any and all music that your parents might have approved of, or maybe, even liked, or, hopefully, at least left you alone to play in peace up in your room when rock and roll hit post- World War II America teenagers like, well, like an atomic bomb.

Not all of the material put forth was good, nor was all of it destined to be playable fifty or sixty years later on some “greatest hits” compilation but some of songs had enough chordal energy, lyrical sense, and sheer danceability to make any Jack or Jill jump then, or now. And, here is the good part, especially for painfully shy guys like me, or those who, like me as well, had two left feet on the dance floor. You didn’t need to dance toe to toe, close to close, with that certain she (or he for shes). Just be alive…uh, hip to the music. Otherwise you might become the dreaded wallflower. But that fear, the fear of fears that haunted many a teenage dream then, is a story for another day. Let’s just leave it at this for now. Ah, to be very, very young then was very heaven.

So what still sounds good on this CD compilation to a current AARPer, and perhaps to some of his fellows who comprise the demographic that such a 1950s-oriented compilation “speaks” to. Of course, the late Bo Diddley’s monster guitar riffs on Bo Diddley (and about ten other of his mad man songs from this period). Naturally, in a period of classic rock numbers, Chuck Berry’s Roll Over Beethoven (and about twenty of his songs from this period). And also naturally Fats Domino’s My Blue Heaven (ditto).


But what about the now, seeming mandatory to ask, inevitable end of the night high school dance song (or maybe even middle school) that seems to be included in each CD compilation? The song that you, maybe, waited around all night for just to prove that you were not a wallflower, and more importantly, had the moxie to, mumbly-voiced, parched-throated, sweaty-handed, asked a girl to dance (women can relate their own experiences, probably similar). Here the classic Jerry Butler and Betty Everett Let It Be Me fills the bill. Hey, I did like this one, especially the harmonies, and moreover that certain she (the same certain she of the Volume Six and Eight reviews. Does this mean we are going “steady”?) said yes and this was what you waited for and made it all worthwhile. And, yes, I know, this is one of the slow ones that you had to dance close on. And just hope, hope to high heaven, that you didn’t destroy your partner’s shoes and feet. Well, one learns a few social skills in this world if for no other reason that to “impress” that certain she (or he for shes) mentioned above. I did, didn’t you?

**************
Bo Diddley Lyrics

(Ellas McDaniel) 1955

Bo Diddley bought his babe a diamond ring,
If that diamond ring don't shine,
He gonna take it to a private eye,
If that private eye can't see
He'd better not take the ring from me.

Bo Diddley caught a nanny goat,
To make his pretty baby a Sunday coat,
Bo Diddley caught a bear cat,
To make his pretty baby a Sunday hat.

Mojo come to my house, ya black cat bone,
Take my baby away from home,
Ugly ole mojo, where ya bin,
Up your house, and gone again.

Bo Diddley, Bo Diddley have you heard?
My pretty baby said she wasn't for it.

“I Said, Who Do You Love”- An Encore-The Raucous Music Of George Thorogood And The Destroyers

Click on the title to link to "YouTube"'s film clip of George Thorogood and The Destroyers performing their version of "Madison Blues".

CD Review

Live, George Thorogood and the Destroyers, Capitol, 1990

A couple of years ago when Bo Diddley died I mentioned in a review of his work that many latter musicians, particularly white musicians were influenced by his songs, and covered them like crazy. That is the case with George Thorogood, with or without his Destroyers. Although he is probably best known for his bad boy anthem, “Bad To The Bone” Thorogood cut his teeth on doing covers of Bo, John Lee Hooker, Muddy Waters and the other greats of the blues and early rock and roll. That is how we should measure his work, as an exponent of a certain kind or of rock and R&B.

This album delivers extended versions of his master works including: the afore-mentioned “Bad To The Bone,” the classic Bo Diddley tune “Who Do You Love,” “Madison Blues,” and the classic Hooker song “One Scotch, One Bourbon, One Beer”. This album is close to the best versions technically and will give an idea of what old George and boys could do on a hot night. Yes, indeed.


Blues Lyrics - George Thorogood
Madison Blues

All rights to lyrics included on these pages belong to the artists and authors of the works.
All lyrics, photographs, soundclips and other material on this website may only be used for private study, scholarship or research.

by
Elmore James
recording of 1977
from
George Thorogood & The Destroyers (Rounder CD-3013)
&
Live (EMI E 2-46329)

Ah you babes talk about your Madison shoes
We got a thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
I know a gal her name is Lindsey Lou
She told me she loved me but I know it ain't true
Put on your Madison shoes
Put on your Madison blue shoes
I got the Madison blues
Now put on your Madison blue shoes
Ah you cats talking about your Madison shoes
We do the thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
Ah you babes talk about your Madison shoes
We got a thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues