|
MR.
SQUARE GUITAR
with his
trademark
JUNGLE
RHYTHM and SPACE AGE SONICS
POPEYE-X
EXPLAINATION of BO DIDDLEY:
Every amplifier FX on full blast,
reverb, tremolo, echo, microphone rock star who sings about his
dick using secret coon ass double talk, his Cadillac is a woman's ass,
his necktie is a rattlesnake, everything in his world has voodoo
element tied into it, he doesn't just fuck your wife or
daughter, he HEALS her of her whiteness like a psycho sexual witch
doctor, yes his dick is HUGE, but he's such a born stud,
his erotic charisma was astrologically proclaimed at birth by
a gypsy woman who told his mother he was destined to fuck
any woman within one hour, not because he wears
diamonds on every finger or for fillings in his
front teeth, no you see, his dick is a like a magic
hummingbird that hums so loud, its like a giant vibrator with the
deafening power of a turbo jet, he uses vast quantities of railroad
track and marble tombstones to do things like floss his genitalia and
make his eyes shoot lightning and reflect the grim
reaper's face, his house has chimney made of human skulls, and strings
his guitar with 40 miles of barbed wire, he's more than a spook from the
swamp, he's got fancy cars, pimp clothes, custom jewelry, even his hat
has giant gawdy belt buckle, a big chunk of metal that's symbolic of
everything he's about, he's louder than anybody else,
therefore anything he says drowns out anything else, except for one
thing, HIS guitar, which he makes no attemp to hide that he plays it,
not in the manner of Segovia or Chet Atkins, but rather like its
his dick, he uses the octave to pull stroke it up and glide stroke
it back down, his strings are tuned to a straight across power chord of
E, he sings over the low position and then kicks it into high gear
sliding up to the high position, playing the same two fret
"lick" everywhere his hands touch, the rhythm is his patented
African beat no white people have never heard in any song before, its so
dark, syncopated, and unknown to them it has no name in their
culture except "the bo diddley beat", 9 times out of 10
any song he does is that same beat with autobiographical
lyrics, its all about HIM and further elaborations of either Bo, or
Diddley, or both, Bo and/or Diddley, and his manhood, like Diddley
DADDY, including what it used to mean before he stole it, basically
Diddley means "nothingness", but in the form of feces, used as
a boastful putdown, as in, "you don't know diddley", i. e.
HIM, in other words, he not only controls all information, he is endowed
with wisdom and the TRUTH itself, you probably thought it was in the
Bible, but bickering church denominations unanimously agree in unified
condemnation of what's REALLY going on when Bo Diddley does his thing...
that deafening din of sonic chaos and jungle boogie trance rhythm
has never ever meant anything but black magic and the Devil himself...
and Diddley describes all this in rhyming verse to his beat, as a setup
to his ultimate rhetorical question that
HE ASKS YOU TO ANSWER...
"who
do you love?"
then he responds
with a slightly different lyrical approach in his defence, and this is
the only known thematic variation of his message, his OTHER big hit...
"You Can't Judge A book By Looking At The Cover" which he
performed without his guitar using only TWO pairs of unamplified
maracas.
Another
aspect of his music is the melody he uses most of the time, in solfege:
mi, mi, sol, mi, re, do, do... followed by do, do, do, la, do, do, or
in scale degree intervals (all major scale): 3, 3, 5, 3, 2, 1,
1... 1, 1, 1, 1, -3, 1, 1... The source of this melody is also African,
black children sing it when they skip rope, Bo Diddley's phrasing is
lifted from standard nursery rhyme.... in AFRICA. It the major
pentatonic scale used by ALL "prehistoric" cultures, i. e. the
black keys on the piano. these simple notes have their origins in simple
integer ratios, like 1/2, 2/3, 3/4, 3/5, 4/5. Bo Diddley's guitar
strings are tuned around a "root bass" in exactly those
ratios. If the bass moves, it moves by the same degree
downward, below the root, and then moves back as the rhythmic
figure reaches cadence. The beat is basically 4 dotted eighths, or
3 sixteenths, 3 x 4 = 12, and then 2 eigths, the bompbomp makes an even
16. The 4th dotted eigth is not played, but hangs from the 3rd, so
its actually a dotted quarter:
bompa
bompa bomp___ a-bomp bomp
in straight
sixteenths, that rhythm would be
3-3-6
2-2
and the chorus goes
up an octave
8-8-8
7-8
or in the key of E
E-E-E...
D-E
E-E-E... D-E
the melody in the key
of E:
G#
G# B G# F# E E
E E E E -C# E E
the only variation
from the
Bo Diddley formula I know of is
YOU CAN'T JUDGE A BOOK
BY LOOKING AT THE COVER
note: this song was written by Willie Dixon,
in a different rhythm
it uses the root
for the verse, on the 4th phrase
the rhythm stops and the voice says the theme,
then it goes to the standard blues IV
back to blues I, proceeding to the V
where the rhythm stops again,
but the voice keeps going
to the IV for one rhythm hit,
voice keeps going
reiterating the same theme
"I
look like a farmer, but, I'm a lover...
you can't judge a book by looking at the cover" |
