Anyways, I thought I'd take the opportunity to take my boy to see the Kennedy's first to enjoy the music and also to see if he could sit through a concert as I want to take him to see a legend or two whilst they still exist. Halfway thought about taking him to Hippiefest at woodstock this weekend: the Animals (one of the greatest of all time), Jack Bruce of Cream (comes with those awesome vocals and tremendous bass playing, the Turtles (soft spot for me - esp. with a song like "You Showed Me", Melanie (love Melanie - surprised? don't be - Candles in the Rain, Brand New Key, Beautiful People etc.). But it's 2.5 hours away and pretty expensive so's I will hold on taking my 10 year old boy - though he loves the Animals - I am dead set on having my kids know good music before the Corporate Music Machine tells them what they need to like. oh, I'm a-going. Review will follow in a later blog.
So I'm off topic already. The Kennedy's - heard about 'em so I was curious. I like good folk when I hear it so I thought I'd check it out at the Hamilton Park. Great playing and singing but was one of those times that you benefit exponentially if you know the material. Unfortunately, there was a lukewarm hush to the proceedings by way of the audience (avg. age um, 52?), so that didn't help. Highlight was their Ukelele playing!! They ripped! I knew I would like to hear more though. What I liked is just what I want in folk - clever, engaging storytelling with some decent acoustic licks to flavor the tales. No vocal inflections that are trendy or annoying - just sweet, passionate, worked out choral kharma. It was there. It helped that they were husband and wife too! It was evident that there was soul-bonding.
Ok, so the last part of the story goes like this: I hung out to meet them as I am wont to do. I try to help with equipment as I've been there many times lugging sh*t while everybody leaves. I allowed my boy to bring his bike for the 2nd set (my first reaction was to say no and then I thought about it - why not?) He was cooperative, quiet (as much as he gets), and had a blast without disturbing anyone. But while I was helping out, he won the Kennedys over (Dave and Maura) but then skinned his knee when he fell off his bike. Well, Maura was like Clara Barton with a first aid kit and hugs and Dave came and offered him CD's - 3!! I halfway thought I should pay but y'know why not let a free offering be free! They wanted to bless him and I didn't want to tarnish it with "filthy lucre". But I am indebted to them and will do what I can to promote them for their talent and good spirit. They are playing two nights at the Colorscape in Norwich. Come on along!
CD's - a kids one by which they go by the Snacks - my boy digs it entirely - it's cute and pretty funny. The Kennedy's 2nd CD "Life is Large" is good tuneful, slightly psychadelic stuff (I love psychadelic folk by the way). Much of it is Byrdsian in harmony and string tone (12 string Rickenbacker helps) and that makes my day (grew up on the Byrds Greatest Hits). Then a solo effort by Dave (Guitar Slinger) that is steeped in Chet Atkins and Les Paul greatness. Wow! my boy stayed in the car the other day to listen to it in it's entirety! Yikes, Mr. Kennedy can pick an acoustic guitar!
Drums:
BUMP ba-Dump ba-Dump BaDa- Bomp !
BUMP ba-Dump ba-Dump BaDa- Bomp !
Guitar:
Wa-heee dee dee da dee wooo-heee!
Wa-heee dee dee da dee wooo-heee!
Moroccas:
Shake-a-Shicka-shick-a-shake-a-shicka shake!
Shake-a-Shicka-shick-a-shake-a-shicka shake!
Above notation is rock-n-roll theory for the truly hip. Yes, Bo Diddley’s sound was as signature as the electric guitar itself – but not just any electric guitar – no, not for this maverick. He liked his guitar on the square side and sometimes furry - wha?
Ok, some think of his stuff as one-trick pony show-boatisms. C’mon get some ear drums that hear drums! He invented one of the most infectious beats ever. The Beat featured a guitar sound that came drifting like a torrential jungle river out of speaker cones, sweeping you up in the heat of Rock-n-Roll passion. A visceral sound that grabbed you and pulled you in to the rhythm.
No, his sound didn’t cut through like a typical "axe" would – it percolated a , strange brew of deep-tonality, saturated with string scratching rhythm, reverb, tremolo and mystery. There are few sounds in rock as exhilarating as hearing the Bo Diddley rhythm played with authentic fervor***. His songs were not flashy, didn’t have virtuosic playing, hardly had any catchy hooks that other bands scratch their heads endlessly searching for – no – it’s the beat, it’s the Beat, it’s the BEAT, man! A beat that is in such classics as “Roadrunner”, “I’m a Man”, “Who Do You Love” and of course “Bo Diddley”. An infectious beat that infected all sorts of great, great rock-n-roll by the likes of other Bo admirers too many to begin to mention (though the wikipedia entry does a good job of trying).
In my formative ears, I was thrilled by many covers of Bo Diddley tunes and inspirations. The Doors playing Bo’s “Who Do You Love” off of the Absolutely Live album sent chills down my spine, The Animals “Story of Bo Diddley” was a hip and hilarious take on the Bo Diddley mystique. Johnny Otis’ “Willie and the Hand Jive’ which was a virtual copy of Bo’s rhythm would stick in my head for many days after hearing it. The New York Doll’s tore it up with their outrageous cover of “Pills”. The Who do a raucous cover of “Roadrunner” in The Kids are Alright movie that is a complete hoot.
The Rolling Stone’s playing “Not Fade Away” was a launching point for the Greatest Rock-n-Roll Band. Chuck Berry had few peers but he would often play alongside “the Originator” as Bo was known. Heck, Bo Diddley is even playing on Berry’s “Memphis, Tennessee”.
Think of a guy appearing in 1955 with a square guitar, with an approach to guitar sound and song style that was so new to the music world that promoters had him tour with jazz entourages not knowing where else to place him. Ed Sullivan (bless his pointed little head) said he wouldn’t last half a year. A guy who changed his name from Ellis Otha Bates to Bo Diddley and then would ceaselessly boast and pontificate about his acquired alter-ego in his soulful voice that was somehow suitable to the chunky, hypnotic tones of the guitar.
So in this age when the radio endlessly cycles drivel from Boston’s first and forgettable album (if only they would let us forget). That tribal delirium that was so evident in the Originator's music replaced by so much predictable pandering on the radio. So-called Classic rock Radio almost has entirely swept Bo under the rug, except that you can’t. That beat, like Poe’s Tell-Tale Heart keeps bumping from under the floorboards in the rock-n-roll night. It’s the Beat - Listen to real rock-n-roll:
BUMP ba-Dump ba-Dump BaDa- Bomp. Wa-heee dee dee da dee wooo-heee Shake-a-Shicka-shick-a-shake-a-shicka shake.
***Sorry George Thoroghgood, but your take of “Who Do You Love” is too flashy, with none of the mystery and evocative tone of the Originator.
Personal Note: As much as I wanted to be exclusively an original songwriter and guitar player, eschewing the tradition of covering other’s music until you learn the rudiments, I had no problem playing the Bo Diddley beat. The essence of his musical contribution is as essential to quality and evocative, exciting rock-n-roll as anything in the genre and probably all the modern rock riffs combined (ok leave out Kurt Cobain’s “Come As You Are”). The Cosmic Elvis Entities now include a cover hear and there, of very selective and vital material (Boney Maroney, Shakin All Over, We Gotta Get Outta This Place), but without question Bo Diddley has always had a place in this Rock-n-Roll Heart and we cover “Who Do You Love” often in our sets.
RSS Feed