The London Bo Diddley Sessions
By Bo Diddley
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Track listing
Show track credits
- A1 Don't Want No Lyin' Woman 3:58
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songwriter
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guitar
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organ
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tambourine, vocals
-
bass
-
drums
-
Charles Grimarcongas
-
Nigel Graingepercussion
-
engineer
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- A2 Bo Diddley 2:54
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songwriter
-
guitar
-
organ
-
tambourine
-
bass
-
drums
-
Charles Grimarcongas
-
Nigel Graingepercussion
-
engineer
-
- A3 Goin' Down 2:54
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guitar
-
guitar
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piano
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vocals
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tenor saxophone
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baritone saxophone
-
tenor saxophone
-
trombone
-
trumpet
-
trumpet
-
trumpet
-
bass, arranger
-
drums, percussion
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drums, percussion
-
congas
-
engineer
-
songwriter
-
- A4 Make a Hit Record 4:59
-
songwriter
-
guitar
-
organ
-
tambourine
-
bass
-
drums
-
Charles Grimarcongas
-
Nigel Graingepercussion
-
engineer
-
- A5 Bo-Jam 3:31
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songwriter
-
guitar
-
organ
-
tambourine
-
bass
-
drums
-
Charles Grimarcongas
-
Nigel Graingepercussion
-
engineer
-
- B1 Husband-In-Law 3:32
-
guitar
-
guitar
-
piano
-
baritone saxophone, tenor saxophone
-
baritone saxophone
-
tenor saxophone
-
trombone
-
trumpet
-
trumpet
-
trumpet
-
bass, arranger
-
drums, percussion
-
drums, percussion
-
congas
-
engineer
-
songwriter
-
songwriter
-
songwriter
-
- B2 Do the Robot 5:40
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songwriter
-
guitar
-
organ
-
tambourine
-
bass
-
drums
-
Charles Grimarcongas
-
Nigel Graingepercussion
-
engineer
-
- B3 Sneakers on a Rooster 2:41
-
guitar
-
guitar
-
piano
-
vocals
-
tenor saxophone
-
baritone saxophone
-
tenor saxophone
-
trombone
-
trumpet
-
trumpet
-
trumpet
-
bass, arranger
-
drums, percussion
-
drums, percussion
-
congas
-
engineer
-
songwriter
-
- B4 Get Out of My Life 5:09
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songwriter
-
guitar
-
organ
-
tambourine
-
bass
-
drums
-
Charles Grimarcongas
-
Nigel Graingepercussion
-
engineer
-
- Total length: 35:18
Rate/Catalog
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5 Issues
- Release view [combined information for all issues]
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The London Bo Diddley Sessions [p] 33 rpm, Gatefold
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The London Bo Diddley Sessions 33 rpm, Gatefold
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3 Reviews
After the unexpected hit that was Howlin’ Wolf’s London Sessions , Chess Records attempted to repeat their success with Bo Diddley, sending him to London to record an album with a British backing band (the best known of which being Roy Wood, of The Move, on bass). Unfortunately, the sessions failed to bring about as much renewed interest in Bo Diddley as they had Howlin’ Wolf, and the album, as a result, has acquired a reputation of being a lesser effort
However, this bad reputation is not entirely deserved, as there are several excellent tracks to be found here. This has a much more funky sound to it than classic Bo Diddley, and this only adds to the music. Funk guitar and organ are ever-present here, alongside a solid, steady rhythm section, and these are a good accompaniment to Bo’s voice. The best track is “Husband-in-Law, a very funky Sly Stone-esque number with an incredibly catchy horn and piano part. Other highlights include the equally funky tracks “Going Down” (which sounds like a lost Funkadelic track along the lines of “Can You Get to That” and “You Can’t Miss What You Can’t Measure” ), “Get Out My Life”, as well as the fun version of “Bo Diddley”.
However, there are several lesser songs here that may justify the album’s bad reputation, to some extent at least. Too many of the tracks are too formless and/or generic, such as the pointless, dull “Bo-Jam” , the acceptable but forgettable blues of “Don’t Want No Lying Woman” , and the overlong “Do the Robot”. “Make a Hit Record” would have been among the highlights here were it not for Bo’s stuttering, goofy vocal, which is in no way endearing and completely ruins the song.
Overall, this is a fairly good album that is neither a misunderstood classic nor quite as bad as some might say, and is worth seeking out for both fans of Bo Diddley and funk music in general.
However, this bad reputation is not entirely deserved, as there are several excellent tracks to be found here. This has a much more funky sound to it than classic Bo Diddley, and this only adds to the music. Funk guitar and organ are ever-present here, alongside a solid, steady rhythm section, and these are a good accompaniment to Bo’s voice. The best track is “Husband-in-Law, a very funky Sly Stone-esque number with an incredibly catchy horn and piano part. Other highlights include the equally funky tracks “Going Down” (which sounds like a lost Funkadelic track along the lines of “Can You Get to That” and “You Can’t Miss What You Can’t Measure” ), “Get Out My Life”, as well as the fun version of “Bo Diddley”.
However, there are several lesser songs here that may justify the album’s bad reputation, to some extent at least. Too many of the tracks are too formless and/or generic, such as the pointless, dull “Bo-Jam” , the acceptable but forgettable blues of “Don’t Want No Lying Woman” , and the overlong “Do the Robot”. “Make a Hit Record” would have been among the highlights here were it not for Bo’s stuttering, goofy vocal, which is in no way endearing and completely ruins the song.
Overall, this is a fairly good album that is neither a misunderstood classic nor quite as bad as some might say, and is worth seeking out for both fans of Bo Diddley and funk music in general.
Published
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Funk comes naturally to Bo. In fact, in my humble opinion, Bo is the inventor of the chicken scratch funk guitar. And besides, he called his music 'jungle' way before anyone else got 'round to claim that name.
True, 'The Black Gladiator' (1970) and 'Where It All Began' (1972), two funk-filled albums that preceded Diddley's London gig, are the absolute 'be-all' and 'is-all' of Bofunkentelechy. Nevertheless, the much derided 'London Sessions' is another groove infested longplayer. From a funky soul perspective, it's a killer jam all the way through. Oh, and plus: it wasn't even recorded in London; it was put on tape in sweet home Chicago, baby.
Belting out a raw, old-school blues shout on "Don't Want No Lyin' Woman", the album opens on a shufflin', rowdy note, with Bo trading lead vocals with his trusted female singing partner Connie Redmond. The tune ends hilariously as both start signifyin' and playing the dozens as they had done on "Shut Up, Woman" and "I Don't Like You".
A fairly traditional take on the man's classic "Bo Diddley" is funked up with some purring Hammond fills, and the choir backing him is a nice touch as well.
Thangs git hot 'n' funky forreal as Bo serges into the fatback romp "Goin' Down". Although credited to Diddley, it sounds like a carbon copy of Allen Toussaint's similarly titled funk flo'down. It's all good, tho'!
Old-school Stax-styled guitar riffs propel the disc's most hilarious jam, as a stutterin' Bo plays the 'young hopeful' on "Make a Hit Record". Kicked in the ass by a ferocious bass riff and thudding drums, this is a rhythm riot pur sang, with Bo name-checking Chuck Berry, Jerry Lee Lewis, Elvis Presley and Joe Tex: "I... I... I even... even got one like Joe Joe Joe Tex, when he says "I Gotcha"..."
The instrumental "Bo-Jam" keeps riding that thick, gurgling, swampin' funk groove, with an emphasis on Diddley's trademark scratchin' technique, whereas "Husband-In-Law" is the disc's most pop-oriented effort. Sporting more humorous lyrics, this fast-paced stomper is layered in wah wah guitars, staccato horns and that incessantly janglin' tambourine. See this as Bo's spin on the "Jody's Got Your Girl and Gone" hit by Johnnie Taylor.
Gutbucket, bottom-heavy funk follows with "Do the Robot", after which Bo delves into another street-smart diatribe aimed at a no-good lover with the brilliantly executed "Sneakers on a Rooster". The pounding groove is accentuated by blasts of brass and countrified guitar riffs.
'The London Sessions' closes with the superlative funkrocker "Get Out of My Life", again making plenty of use of horns - a thing Bo would take further on this LP's follow-up 'Big Bad Bo'.
Ignore the 'purists', be they from the Blues or Rock herd, and follow your funky gut instincts...
True, 'The Black Gladiator' (1970) and 'Where It All Began' (1972), two funk-filled albums that preceded Diddley's London gig, are the absolute 'be-all' and 'is-all' of Bofunkentelechy. Nevertheless, the much derided 'London Sessions' is another groove infested longplayer. From a funky soul perspective, it's a killer jam all the way through. Oh, and plus: it wasn't even recorded in London; it was put on tape in sweet home Chicago, baby.
Belting out a raw, old-school blues shout on "Don't Want No Lyin' Woman", the album opens on a shufflin', rowdy note, with Bo trading lead vocals with his trusted female singing partner Connie Redmond. The tune ends hilariously as both start signifyin' and playing the dozens as they had done on "Shut Up, Woman" and "I Don't Like You".
A fairly traditional take on the man's classic "Bo Diddley" is funked up with some purring Hammond fills, and the choir backing him is a nice touch as well.
Thangs git hot 'n' funky forreal as Bo serges into the fatback romp "Goin' Down". Although credited to Diddley, it sounds like a carbon copy of Allen Toussaint's similarly titled funk flo'down. It's all good, tho'!
Old-school Stax-styled guitar riffs propel the disc's most hilarious jam, as a stutterin' Bo plays the 'young hopeful' on "Make a Hit Record". Kicked in the ass by a ferocious bass riff and thudding drums, this is a rhythm riot pur sang, with Bo name-checking Chuck Berry, Jerry Lee Lewis, Elvis Presley and Joe Tex: "I... I... I even... even got one like Joe Joe Joe Tex, when he says "I Gotcha"..."
The instrumental "Bo-Jam" keeps riding that thick, gurgling, swampin' funk groove, with an emphasis on Diddley's trademark scratchin' technique, whereas "Husband-In-Law" is the disc's most pop-oriented effort. Sporting more humorous lyrics, this fast-paced stomper is layered in wah wah guitars, staccato horns and that incessantly janglin' tambourine. See this as Bo's spin on the "Jody's Got Your Girl and Gone" hit by Johnnie Taylor.
Gutbucket, bottom-heavy funk follows with "Do the Robot", after which Bo delves into another street-smart diatribe aimed at a no-good lover with the brilliantly executed "Sneakers on a Rooster". The pounding groove is accentuated by blasts of brass and countrified guitar riffs.
'The London Sessions' closes with the superlative funkrocker "Get Out of My Life", again making plenty of use of horns - a thing Bo would take further on this LP's follow-up 'Big Bad Bo'.
Ignore the 'purists', be they from the Blues or Rock herd, and follow your funky gut instincts...
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Catalog
17 Aug 2023
-
A1
Don't Want No Lyin' Woman
-
A2
Bo Diddley
-
A3
Goin' Down
-
A4
Make a Hit Record
-
A5
Bo-Jam
-
B1
Husband-In-Law
-
B2
Do the Robot
-
B3
Sneakers on a Rooster
-
B4
Get Out of My Life
2 Jul 2023
29 May 2023
8 Apr 2023
12 Jan 2023
3 Jan 2023
23 Dec 2022
27 Nov 2022
7 Nov 2022
5 Sep 2022
24 Aug 2022
9 May 2022
29 Mar 2022
-
A1
Don't Want No Lyin' Woman
-
A2
Bo Diddley
-
A3
Goin' Down
-
A4
Make a Hit Record
-
A5
Bo-Jam
-
B1
Husband-In-Law
-
B2
Do the Robot
-
B3
Sneakers on a Rooster
-
B4
Get Out of My Life
27 Feb 2022
12 Nov 2021
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