Bo Diddley

Ellas McDaniel (born Ellas Otha Bates; December 30, 1928 – June 2, 2008), known professionally as Bo Diddley, was an American guitarist who played a key role in the transition from the blues to rock and roll. He influenced many artists, including Buddy Holly, Elvis Presley, The Beatles, The Rolling Stones, The Animals, George Thorogood, and The Clash.

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. 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. He received a Lifetime Achievement Award from the Rhythm and Blues Foundation and the Grammy Lifetime Achievement Award. 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 guitars.

Early life

Bo Diddley was born in McComb, Mississippi, as Ellas Bates (some sources give his name as Otha Ellas Bates or as Elias Otha Bates). In a 2001 interview with Ken Paulson on the program ''Speaking Freely'', the artist stated: "That's why I have the name Ellas Bates McDaniel. ...Now that's cleared up -- Somebody done read something -- My name is not 'Otha'. If you read that in a book someplace, I don't know where they got that 'Otha' from. But somebody decided 'Well, we don't know what his name is, so let's give him one!'" He was the only child of Ethel Wilson, a sharecropper's teenaged daughter, and Eugene Bates, whom he never knew. Wilson was only sixteen, and being unable to support a family, she gave her cousin, Gussie McDaniel, permission to raise her son. McDaniel eventually adopted him, and he assumed her surname.

After his adoptive father Robert died in 1934, when Diddley was 5 years old, Gussie McDaniel moved with him and her three children to the South Side of Chicago; he later dropped Otha from his name and became Ellas McDaniel. He was an active member of Chicago's Ebenezer Missionary 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, 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; his first recordings were based on that frenetic church music. 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.

Career

Inspired by a John Lee Hooker performance, Diddley supplemented his income as a carpenter and mechanic by playing on street corners with friends, including Jerome Green, 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. In 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, who had played harmonica as a boy but took up guitar in his teens after he met Diddley at a talent show, with Diddley teaching him some aspects of playing the instrument,Dahl, Bill (2002). CD liner notes. "Jody Williams, ''Return of a Legend''". including how to play the bass line. 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 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.

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. ''Diddly'' is a truncation of ''diddly squat'', which means "absolutely nothing". 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. 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.

In the 1921 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 during her lifetime.

A diddley bow is a homemade single-string instrument that survived in the American Deep South, especially in Mississippi. Played mainly by children, 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. The apparent consensus among scholars is that the diddley bow is derived from the monochord zithers of central Africa. Diddley played his song "Bo Diddley" in one string fashion on the guitar, in the style of the children's instrument.

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". 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''.

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. 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''. 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.

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).

Diddley 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, reaching number 11 on the chart. Mickey Baker claimed that he (Baker) and Bo Diddley's wife, Ethel Smith, wrote the song. 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''.

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''. 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.

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. 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, but it failed to become a hit. Diddley persuaded Moonglows founder and backing vocalist Harvey Fuqua to hire Gaye. Gaye joined the Moonglows as first tenor; the group then moved to Detroit with the hope of signing with Motown Records founder Berry Gordy Jr.

Diddley included women in his band: Norma-Jean Wofford

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