"Diddley Daddy" | ||||
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Single by Bo Diddley | ||||
B-side | "She's Fine, She's Mine" | |||
Released | June 1955 [1] | |||
Recorded | May 15, 1955 [2] | |||
Studio | Universal Recording Corp. (Chicago) | |||
Genre | Rhythm and blues | |||
Length | 2:28 | |||
Label | Checker 819 [1] | |||
Songwriter(s) | Ellas McDaniel, Harvey Fuqua | |||
Producer(s) | Leonard Chess, Phil Chess, Bo Diddley [2] | |||
Bo Diddley singles chronology | ||||
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"Diddley Daddy" is a song by Bo Diddley. The song was issued as a single on Checker Records in June 1955. [1] His second single, it followed on the heels of the success of the eponymous "Bo Diddley." The song spent four weeks on the Billboard R&B chart in the summer of 1955, [3] peaking at No. 11. [4]
The song was recorded on May 15, 1955, in Chicago. Originally called "Diddy Diddy Dum Dum," [5] it started out as a Billy Boy Arnold composition, which Leonard Chess, owner of Chess Records (Checkers was a subsidiary label of Chess), had heard Arnold play and wanted Diddley to record. However, Arnold had just signed a contract with Vee-Jay Records, and had recorded the song the day before at Universal Recording Corporation. When Chess wanted Arnold to sing the song, the latter realized he had a contract, responding, "I can't do it...I just recorded it for Vee-Jay." Chess responded, "Goddam! Ain't this a bitch!" A solution, however, was found on the spot: Diddley and Harvey Fuqua, who happened to be around, rewrote the lyrics. [6]
As it happened, the harmonica player Little Walter was in the studio, and he asked Billy Boy Arnold for his harp; Walter plays the long solo after the first verse (Arnold plays harmonica on the B-side, "She's Fine, She's Mine"). Also decided at "the spur of the moment" was to have Chicago doo-wop group The Moonglows sing background vocals. [6]
One of Bo Diddley's signature songs, "Diddley Daddy" evidenced Diddley's maturation process as an artist. [7] It was described as a "terrific nugget" [8] and an "infectious" "upbeat rocker". [9] The Chicago Sun-Times said it combined "outrageous braggadocio with a beat that resounds like an endless sexual shudder." [10]
Marking Diddley's popularity in England, the Rolling Stones, who early in their career often played Diddley songs live, [11] covered the song (along with Diddley's "Road Runner") on their first demo, recorded on March 11, 1963. [12] [13] Brian Jones would later borrow Diddley's guitar figure from the song for the band's 1965 single "19th Nervous Breakdown".
The title of the song has come to stand for Bo Diddley himself, as evidenced from articles about Diddley by Val Wilmer [14] and Stuart Colman. [15] After Diddley's death, in 2008, the phrase directly referred to Diddley in various obituaries; [16] the usage reflected Diddley's habit of self-reference [17] as well as the way others talked about him, such as Tom Petty: "Elvis is King. But Diddley is Daddy." [18]
A Bo Diddley compilation CD issued in 1988 is also called Diddley Daddy. [19] The song is featured on many greatest hits albums by Bo Diddley including 16 All-Time Greatest Hits and His Best .
Ellas Otha Bates, known professionally as Bo Diddley, was an American guitarist and singer 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, Syd Barrett, and the Clash.
William James Dixon was an American blues musician, vocalist, songwriter, arranger and record producer. He was proficient in playing both the upright bass and the guitar, and sang with a distinctive voice, but he is perhaps best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues.
McKinley Morganfield, known professionally as Muddy Waters, was an American blues singer and musician who was an important figure in the post-World War II blues scene, and is often cited as the "father of modern Chicago blues". His style of playing has been described as "raining down Delta beatitude".
Chicago blues is a form of blues music that developed in Chicago, Illinois. It is based on earlier blues idioms, such as Delta blues, but is performed in an urban style. It developed alongside the Great Migration of African Americans of the first half of the twentieth century. Key features that distinguish Chicago blues from the earlier traditions, such as Delta blues, is the prominent use of electrified instruments, especially the electric guitar, and especially the use of electronic effects such as distortion and overdrive.
Chess Records was an American record company established in 1950 in Chicago, specializing in blues and rhythm and blues. It was the successor to Aristocrat Records, founded in 1947. It expanded into soul music, gospel music, early rock and roll, and jazz and comedy recordings, released on the Chess and its subsidiary labels Checker and Argo/Cadet. The Chess catalogue is owned by Universal Music Group and managed by Geffen Records and Universal Music Enterprises.
Marion Walter Jacobs, known as Little Walter, was an American blues musician, singer, and songwriter, whose revolutionary approach to the harmonica had a strong impact on succeeding generations, earning him comparisons to such seminal artists as Django Reinhardt, Charlie Parker and Jimi Hendrix. His virtuosity and musical innovations fundamentally altered many listeners' expectations of what was possible on blues harmonica. He was inducted into The Rock and Roll Hall of Fame in 2008, the first and, to date, only artist to be inducted specifically as a harmonica player.
Checker Records is a defunct record label that was started in 1952 as a subsidiary of Chess Records in Chicago, Illinois. The label was founded by the Chess brothers, Leonard and Phil, who ran the label until they sold it to General Recorded Tape (GRT) in 1969, shortly before Leonard's death.
"Mannish Boy" is a blues standard written by Muddy Waters, Mel London, and Bo Diddley. First recorded in 1955 by Waters, it serves as an "answer song" to Bo Diddley's "I'm a Man", which was in turn inspired by Waters' and Willie Dixon's "Hoochie Coochie Man". "Mannish Boy" features a repeating stop-time figure on one chord throughout the song.
Bo Diddley is the debut album by American rock and roll musician Bo Diddley. It collects several of his most influential and enduring songs, which were released as singles between 1955 and 1958. Chess Records issued the album in 1958. In 2012, it was ranked number 216 on Rolling Stone's 500 Greatest Albums of All Time list alongside his second album, Go Bo Diddley (1959). The ranking of the album pair dropped to number 455 in the 2020 update of the list.
"I Wish You Would" is a song recorded by Chicago blues musician Billy Boy Arnold in 1955. It was developed while Arnold was performing with Bo Diddley and incorporates a Diddley-style rhythm. Called "a timeless Chicago blues classic", "I Wish You Would" is Arnold's best-known song and has been recorded by several artists, including the Yardbirds, who recorded it for their debut single in 1964.
"I'm a Man" is a rhythm and blues song written and recorded by Bo Diddley in 1955. Inspired by an earlier blues song, it was one of his first hits. "I'm a Man" has been recorded by a variety of artists, including the Yardbirds, who adapted it in an upbeat rock style.
"Bo Diddley" is a song by American rock and roll pioneer Bo Diddley. It introduced the rhythm that became known as the Bo Diddley beat and topped the Billboard R&B chart for two weeks in 1955. The song is included on many of Diddley's compilation albums including Bo Diddley (1958) and His Best (1997). Buddy Holly recorded a version that became his highest-charting single in the UK.
"Hoochie Coochie Man" is a blues standard written by Willie Dixon and first recorded by Muddy Waters in 1954. The song makes reference to hoodoo folk magic elements and makes novel use of a stop-time musical arrangement. It became one of Waters' most popular and identifiable songs and helped secure Dixon's role as Chess Records' chief songwriter.
Go Bo Diddley is the second album by American rock and roll musician Bo Diddley, released in July 1959. The album was Bo's first studio album that included some material that hadn't been prereleased on singles, and his first LP for Checker Records. In 2003, Rolling Stone ranked it number 214 on its The 500 Greatest Albums of All Time, and 216 in a 2012 revised list.
"Who Do You Love?" is a song written by American rock and roll pioneer Bo Diddley. Recorded in 1956, it is one of his most popular and enduring works. The song represents one of Bo Diddley's strongest lyrical efforts and uses a combination of hoodoo-type imagery and boasting. It is an upbeat rocker, but the original did not use the signature Bo Diddley beat rhythm.
William "Billy Boy" Arnold is an American blues harmonica player, singer and songwriter. Arnold is a self-taught harmonica player and has worked with blues legends such as Bo Diddley, Johnny Shines, Otis Rush, Earl Hooker, Howlin' Wolf, Muddy Waters and others.
"Road Runner" is a 12-bar blues song performed by American rock and roll performer Bo Diddley, originally released as a single by Checker Records in January 1960, and later released on the LP record Bo Diddley in the Spotlight. The song reached #20 on Billboard magazine's Hot R&B Sides chart, and #75 on the Hot 100. The song has since been recorded by many artists.
His Best is a 1997 greatest hits compilation album by American rock and roll icon Bo Diddley released by Chess and MCA Records on April 8, 1997. The album was re-released by Geffen Records on April 17, 2007 as The Definitive Collection with a different album cover. The Definitive Collection reached #2 on Billboard magazine's Blues Albums chart on June 21, 2008, which was the week that the album debuted on the charts.
"Diddy Wah Diddy" is a song written by Willie Dixon and Ellas McDaniel, known as Bo Diddley, and recorded by the latter in 1956. The song shares only its title with Blind Blake's song "Diddie Wah Diddie" recorded in 1929. Over the years, the Bo Diddley song has been covered by many bands and artists, including the Astronauts, Captain Beefheart and his Magic Band, the Remains, the Twilights, Taj Mahal, the Sonics, the Fabulous Thunderbirds, Ty Segall Band, and the Blues Band among others.
"Hate to See You Go" is a blues song written and recorded by Chicago blues artist Little Walter. In 1955, Checker Records released it as one of three singles by Walter that year. The song, a one chord modal blues, is a reworking of "You Don't Love Me", written by Bo Diddley and recorded one month prior.
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