Ellas Otha Bates (December 30, 1928 – June 2, 2008), known professionally as Bo Diddley, was an American guitarist, singer and songwriter who played a key role in the transition from the blues to rock and roll. He influenced many artists, including Buddy Holly, the Beatles, the Rolling Stones, the Animals, George Thorogood, Syd Barrett, Tom Petty, and the Clash.
His use of African and Latin 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 guitars.
Early life Bo Diddley was born in McComb, Mississippi, as Ellas Otha Bates (also stated as Otha Ellas Bates or Elias Otha Bates). 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. Diddley denied ever having the name "Otha" in a 2001 interview, saying "My name is not 'Otha'... I don't know where they got that 'Otha' from." The website maintained by his estate states that it was originally part of his birth name.
After his adoptive father Robert died in 1934, when Diddley was five 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 said 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.
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 would not 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 moonlighted as Diddley's chauffeur.
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, also known as The Duchess; Gloria Jolivet; Peggy Jones, also known as Lady Bo, a lead guitarist (rare for a woman at that time); and Cornelia Redmond, also known as Cookie V.
Later years
In early 1971, writer-musician Michael Lydon, a founding editor of Rolling Stone, conducted a lengthy, rambling interview of Diddley, at his then home in the San Fernando Valley, California. Lydon described him as a "protean genius" whose songs were "hymns to himself", and led the published piece with a Diddley quote: "Everything I know I taught myself."
Over the decades, Diddley's performing venues ranged from intimate clubs to stadiums. On March 25, 1972, he played with the Grateful Dead at the Academy of Music in New York City. The Grateful Dead released part of this concert as Volume 30 of the band's concert album series, Dick's Picks. Also in the early 1970s, the soundtrack of the ground-breaking animated film Fritz the Cat contained his song "Bo Diddley", in which a crow dances and finger-pops to the track.
Diddley spent some years in New Mexico, living in Los Lunas from 1971 to 1978, while continuing his musical career. He served for two and a half years as a deputy sheriff in the Valencia County Citizens' Patrol; during that time he purchased and donated three highway-patrol pursuit cars. In the late 1970s, he left Los Lunas and moved to Hawthorne, Florida, where he lived on a large estate in a custom-made log cabin, which he helped to build. For the remainder of his life he divided his time between Albuquerque and Florida, living the last 13 years of his life in Archer, Florida, a small farming town near Gainesville.
In 1979, he appeared as an opening act for the Clash on their US tour.
In 1983, he made a cameo appearance as a Philadelphia pawn shop owner in the comedy film Trading Places. He also appeared in George Thorogood's music video for the song "Bad to the Bone," portraying a guitar-slinging pool shark.
In 1985, he appeared on George Thorogood's set, alongside fellow blues legend Albert Collins, on the Live Aid American stage to perform Thorogood's popular cover of Diddley's song Who Do You Love?".