Lady Bo

Where and when were you born?

 I was born Peggy Jones on July 19th 1940. I state my birth name because most of my earlier recording credits with Bo Diddley are now being listed as such, instead of not at all. Peggy Jones and Lady Bo are same person. I grew up in a section of uptown Manhattan in New York City called “Sugar Hill,” in a neighborhood full of talent such as Duke Ellington, Carmen McRae, Leslie Uggams, Gregory Hinds, Dave Baby Cortez, Frankie Lymon and The Teenagers, The Ronettes, Jimmy Jones (no relation), The Valentines, The Cadillacs. I was surrounded by talent.

You were surrounded by talent!  Do you come from a musical family?  If yes, what is your earliest musical memory involving your family?

I was raised in a household where artistic development was encouraged. By age three,  I had a natural instinct of rhythm and movement with enormous musical sense in pitch and timing that I was classified a child prodigy. My mother was a singer, dancer, and a licensed cosmetologist. My father was a sax player who favored mechanics more after the war. When he was in the Army my mom and I practiced singing and dancing together at home in front of a huge wall-to-wall mirror he installed in the living room.

At age six, [I became a] professional tap dancer (and I still want to challenge Gregory Hinds! ), studied ballet and toe plus the art of all modern dance before the Dance Theater of Harlem and appeared at Carnegie Hall, Ted Mack¹s Amateur Hour on TV and Ralph Cooper¹s radio show Spotlight on Harlem. I had formal operatic vocal training at age nine with a four octave range and again appeared at Carnage Hall and several schools in Operettas. Can you imagine me singing obligate-vocal accompaniment/arias to songs like Italian Street Song or Love Is Where You Find It? Never mind!!

Ha!  I know what you mean.  I trained as an opera singer also.   One thing it does do is make you disciplined…

Training created range and lasting vocal chops to burn. Also, I kept in shape by running track and relay events in the mid 50s and still dance for days, sing and play every style Blues, jazz, pop, R&R, R&B, soul, gospel and swing big band. I am callused you see.

My sister Patricia was born in 1956 and another Patron in 1958. They also had music in their bones. 1960, I was twenty years old when my mom took ill.  My dad was working hard all the time. I came off the road now and then to help out.  The girls were a handful, singing and dancing all over the place. In 1962, I was in Nashville working with Bo [Diddle] and got a message that I was needed home.  I told Bo and he said no problem, your job will still be here when you get back.   I went on leave of absence.  I returned home and for the next seven years raised my sisters even though mom was doing better, I was needed. I worked six nights a week with my band and a year later 1963, I had taught my sisters the backup parts to He’s So Fine by the Chiffon’s and a couple other songs. When school was out for the summer, they sang with me and the band at Palisade Park (matinees) in New Jersey for the WMCA Radio Good Guys with Hugh O’Brien and Bruce Morrow. Then they wanted to dance with the girl and boy dance team I put in. OK they stole the show. Was hard work for a while. I even took them on the road (short trips) and they are actually in the recordings playing some tambourine, maracas and vocals on a few Diddley sessions that I found time to do in Washington, DC.  Then it was time for them to go to school, homework and plays.

I have a cousin Irvin (Bub) who was lead singer in a vocal group called The Diplomats. I also have an aunt who wrote several hits such as Earth Angel and Ookie Ook for The Penguins. All in the family.

As you are greatly aware, many women don't play blues guitar, what made you choose this as your instrument?  When did you start playing?

I play guitar blues with a funky-soulful-jazzy edge or anything else my mood puts me in. Women singers of long ago seldom recorded as guitar players and women guitar players seldom recorded playing blues.

Are you familiar with Sister Rosetta Tharpe?    She was an amazing gospel (and blues!) guitarist.   Was she inspirational?

Sister Rosetta Tharpe had another calling I call Gospel Blues and yes she was inspirational. She had something to say reaching out to people who were not serious minded of the church or as religious as some. She crossed the line so to speak and was judged by the Church as I crossed the line and picked up a guitar and was judged by Man, and woman. Controversy, yes. Criticism, yes. God is the one you answer to. It is people who don¹t always understand. Her song This Train says a lot which I perform now and then. I've often thought of recording it again on CD as well as other classics from forgotten artists who had something to say. Let’s not forget the roots, the beginning. Blues guitar playing is a root in music, like jazz. Many women don¹t play jazz guitar either. The guitar is a male ego thing supposedly and it was acceptable for a woman to just sing the Blues. I am opposed to this I guess. I was always focused and had a plan. I am an alien! The guitar chose me. Besides, in the beginning it was easier than carrying a piano or a drum kit around which I also play. Little did I know,  there would be my stack of amps and now I play Guitar synthesizer.

At age twelve my first instrument was a ukulele used to accompany myself while singing scales. I attended on scholarship The High School of Performing Arts in New York as a dance major, studied drama, music theory, several instruments and worked as a model. I bought a guitar after seeing Mickey & Sylvia at the Apollo. My song writing and arranging had already begun. The guitar was [my] goal. After winning on Amateur Night at the Apollo Theater as a singer I signed a one shot recording contract with a major label and formed The Fabulous Jewels, a guitar, bass and drums trio and played nightclubs. As a vocalist I played many Supper Clubs on Long Island and east side Manhattan. The club supplied piano-bass-drums trio and I supplied the charted arrangements of the songs I was going to do. I also was a singer in the Buddy Johnson Orchestra filling for Ella Johnson at the Savoy Ballroom and maintained my band besides working with Bo. In 1960-68 I added sax, two trumpet players and a B-3 organist. I grew tired of the area so I relocated to San Jose in Œ69 and formed a new unit called Little Jewel & The Family Jewel. This unit was known as Lady Bo & The Family Jewel aka The Bo Diddley Band in the U.S., in 1972-89 and Europe, 1987. 

From age seventeen (1957) I emerged at a time when there were no other female lead guitarists and spent years as the lesser known band member in the career of Bo Diddley. It seems you were ignored if you played an instrument. Record labels, promoters, forgot your name like you didn’t exist. Most photographers and newspapers edited the girl guitar player (me) out of photos that went to press like it wasn¹t important. Had I been treated as a serious artist then, maybe my career would be different today.

You have definitely had a myriad of experiences.  Where did your name "Ladybo" come from?

Facing hard times during the flower power era, Bo cut his group down to a four piece or none. By 1969, he was booked with pick up bands on Oldies shows. At the same time In 1969 for nine months my bass player Wally Malone and I were on tour with a funky eleven piece horn band called The American Soul Train aka The Boogie Kings based out of Lake Charles, Louisiana and played New Orleans, Arkansas, Texas. We had a blast. Manager Martin Otelsberg sent a wire to me that Bo had band problems, could I get to California within six months? Hummm?

Wally and I relocated to San Jose in October 1969 and reunited with a former drummer from New Jersey, rehearsed and played locally. I let Marty know that new band was ready. Next call was from a promoter who booked Bo with a pick-up band and told me he was coming to San Francisco in July. I thought hey it’s my birthday. Wally and I will go surprise him. Marty told me to take my guitar. It’s been since 1962.

The reunion: When we got to the club, Bo was standing in the shadows next to the stage looking sad. Then he looked up and saw me, eyeballed my guitar and the expression on his face started to change like pages in a book flipping rapidly and his eyes got bigger and glassy. In shock and disbelief the next thing out of his mouth was, “PEGGY! Is that you?”  The tears rolled down his face. I replied, “Well who else am I, and why do you always ask me dumb questions? If you don¹t wish me a Happy Birthday, I’m gonna cry too!”  Once Bo got over the shock he asked me to play. It seems nobody knows what he’s doing.

Anyway, midway into the set there was chanting and a dispute going on. It was the crowd of people that attended the BO DIDDLEY concert in San Francisco, 1970, who proclaimed that I should be called LADY BO, in honor of Bo Diddley, as a compliment to me and as a title. To settle the fuss that came up when the audience is vocal and wanted to know is she your sister… daughter... old lady?  Bo made an announcement. “At this time I would like to introduce to you my guitar player for many years, her name is Peggy.  My wife and kids are at home, it was her and me that you hear on all my records and....oh yeah, we are not related!”  (Laughter) Then the chanting began: LADY BO! LADY BO! LADY BO! We¹re gonna call her LADY BO! Bo hit a chord then said proudly “Yeah!  And I taught her, I’ll be all right now!”

I guess they were not happy with my real name because the true original sound of Bo’s music had just been authenticated. It was evident that the packed house now recognized that the girl guitar player was an integral part of the real rhythm Diddley is famous for especially that night in live performance. The traded guitar licks with telepathic efficiency between Bo and me spoke for itself.

[Since then it has been written on many reviews that “On her own, LADY BO a fine singer as well as guitar player is hardly on shaky ground. She is capable of commanding the attention of all who want to rock. Though in the man¹s world that is the music industry, this veteran performer proves that she can play with the big boys and then some!/ is one of the toughest in the land, able to lay down the beat meaner and crazier than anyone had ever dreamed of, with a stage show that¹s every bit the equal of the music.” We say, Amen.]

Tell us how you became involved with Bo Diddley.  How influential has he been to you?

I met Bo on my way to a session on 125th Street in NYC He was standing in front of the Apollo Theater. He wanted to know if I played that in the case? I wanted to know “Why?  What’s it to you?  Do you think I’d be carrying this around for looks?”  He said, “I’m Bo Diddley playing here at the Apollo and you look good carrying that. If you can play then you got something going on.”   At that time Jerome came running up and said that there is food in the dressing room, so let’s all go eat. Bo invited me to meet his players.

After a while he opened his guitar, asked me to grab mine and play something. When I opened my case he laughed louder than anyone I’d heard before. I wanted to know what¹s funny? Hysterically he said what is that? He had never seen a Supro guitar. I said, “Now that’s a dumb question!  First you probably never saw a girl carrying a guitar down the street before and want to know if I played it, did you think that was funny?” He said,  “NO!”  I continued,  “then you insult my ax and I listen to Wes Montgomery, Kenny Burrell and Charlie Parker and I THINK I’ve heard of you! Do you think that’s funny?”  He said, “ No, but I like your attitude, let’s play something.”  I said OK and the rest is history.

When it comes to influence it was like a father-daughter, best friend, share problems and keep secrets thing. We looked out for and trusted each other. On the other hand, trust no one. If you are ahead of the game, don’t dwell on the past. The minute you go in limbo someone will jump ahead of you and keep on trucking. It’s hell trying to catch up the time you lost. He is my mentor.  I am his protégé.

According to your bio, you were the "first female lead guitarist in history to be hired for a major act..."  This is a major accomplishment, tell us your experience in that “man's world."

I am a female executive in a man’s world who deserves more pay for what I do.  Think about it. After Memphis Minnie, Rosetta Tharpe and forty three years ago there wasn¹t anyone else. I am a history of a woman in music all by myself I am a proud mixed woman of color who is educated and these are my hats: Major Recording Artist, National & International Tours, Concerts and Special Events, U.S., Canada, Europe; Festivals; Major Clubs, small clubs, lounges; Corporate; Weddings; Music & Sound Production; Television Local, Syndicated and world wide; Stage and Major Film for example THE LOST BOYS for Warner Bros. in 1987; Videos, Cassettes, Albums & CD credits; Headline Shows, U.S., Canada & Europe; Song Writer and publishing B.M.I.; Arranger; Endorsements; Band Leader - Music Contractor; Choreography; Tours, PR & Bookings; AFM member, L153 in San Jose.


1. First female lead guitarist in History of R&B, R&R, Blues, Pop, soul, Doo Wop and Spanish guitar, (recordings), 1957-1963.

2. First female vocalist, lead & rhythm guitarist hired into a major recording group (Bo Diddley), 1959.

3. First female song writer, music arranger, producer, band leader on a major label/performance group - The Jewels, 1958-68 and of a national act: Bo Diddley 1958-62 east coast and 1969-94 west coast.

4. Guitarist-vocalist on original recorded hits and sessions with Bo Diddley, now in Rock N Roll Hall of Fame, 1987: Diddley Daddy, Who Do You Love, Hey Bo Diddley, Mona, Hush Your Mouth, Crackin' Up, I'm Sorry, Say Man, Road Runner.

5. BO KNOWS... Bo Jackson, Bo Diddley, Michael Jordan, TV commercial campaign endorsement for NIKE, 1988. *In 1999, this commercial was rated #18 of the 50 Overall All-Time Best TV Commercials to date.

6. Great Gretsch Guitar Hall of Fame Book, out in 1992, on page 262, my 1959 Cadillac-Bo model guitar (I lent to Duchess) in Bo, Duchess and Jerome photo on right and my ‘60s Corvette guitar in photo on the left, me with The Jewels. Note. Comments on bottom are slightly incorrect.

7. Nominated four times for Best Female Vocalist & Best Guitarist, SBBA, NCBF, 1990-93. Cute, I was in a category with no other participants. Instead I got…

8. Lifetime Achievement Award, Northern California Blues Foundation, 1993.

9. My bio appears in the first, second and third edition, Volume Two of the publication The International Who¹s Who in Music out of England, 1996-2000 as well as other books here in the states.

I believe that my talent is as different and unique as others such as Josephine Baker, Rosetta Tharpe, Eartha Kitt, and even Jimmy Hendrix, who were more appreciated in Europe than the states. Why is this?

I have often wondered this also.  I think that the music is often to close to us to appreciate it the way we should.  This is a shame. Who else have you worked with?  Played for?

I have worked with my own band since 1957: The Jewels Trio; The Fabulous Jewels; Little Jewel & The Family Jewel; The Family Jewel aka The Bo Diddley Band. Today we are LADY BO & THE B.C. Horns since 1995 for a change of pace. I’ve been fortunate to play all major clubs, Festivals and big venues with my band and Diddley. Now and then I like to play smaller rooms for up close feel.

My band has been headliner on the same events with Gene Krupa, Wilson Pickett, The Bar-Kays, Sammy Davis Jr, Johnny Winter, B.J. Thomas, Thurston Harris, The Marvelettes, Mongo Santamaria, Jimi Hendrix, Gregg Almond, The Flamingoes, Joe Louis Walker, Richard Berry, Edgar Winter, Albert Collins, Buddy Miles, George Kirby. The Bo Diddley-Lady Bo dates were Headline shows with John Lee Hooker, James Cotton, Katie Webster, Herbie Hancock, Dizzy Gillespie, Doug Kershaw - The Ragin¹ Cajon, The Four Tops, The Coasters, The Platters, Chuck Berry, Ben E. King & The B.T. Express, Chubby Checker, Sarah Vaughn, Santana, Redd Foxx, The Temptations, Chuck Travis 16 piece Orchestra in huge venues and stadiums.

Some of the venues go back years but I still remember The Bodega; The Circle Star Theater(5Xs); The Keystone Berkeley & Palo Alto; Las Vegas International Hotel; The Greek Theater in L.A.; The Boardwalk; San Jose Center of Performing Arts; The Great American Music Hall; Concord Palace; The Sherwood Hall; The Warehouse Concert Hall in Denver; The Commodore Ballroom, Gassy Jack¹s and The Cave in Canada; Monterey Bay Blues and The Monterey Jazz Festivals; Musikcafen in Copenhagen, Denmark; Karlssons in Stockholm; Grosse Freiheit in Hamburg, W. Germany; Quarter Latin in Berlin; Budapest Arena in Hungary; Teatro Kappadras in Italy; Melkweg in Amsterdam and the theater circuit, The Apollo-NY, Howard-Wash.DC, Royal-Baltimore, Uptown-PA and the Brooklyn Paramount when Bo broke his ankle, I was positioned at the side of the stage on guitar stand by.

The biggest thrill were concerts, theaters, arenas 4000-30,000 people across country featured with Bo Diddley. An opening act was supplied most of the time but if no opener, we as a self-contained show package played 20 minutes then I would introduce and bring Bo to the stage for the first show, take a break then do a second show.

You must have some interesting "road stories."  What was the most outrageous thing that has happened to you on the road?

My tenure with Bo gave me both extensive studio and touring experiences, and led to encounters with racism, a common occurrence for performers, and I’ve heard some outrageous tails. Mine were funny. I recall not being served in restaurants, and Bo cooking meals for the band in the car, which at times included a hearse that the band toured in. Bo Diddley can cook a meal if he can plug into a cigarette lighter. In a trade off after a tour I would cook my special fried chicken, tons of potato salad, and my specialty, double layer chocolate cake. Bo would go anywhere for my cake. Jerome Green and Clifton James were in line behind Bo, holding their plates, wide eyed. Another hearse adventure was driving thru Kentucky and the townspeople watching the hearse with Bo driving by. The band decided to stretch out in the back with sheets pulled over us like we were dead bodies. When we stopped for a red light, the townspeople tried to get a good look. The light took forever to turn green. But it did finally. That was our cue to jump up and say BOO! We’re alive! Yeaaaaa! Talk about scared faces and people running back in the stores.

Then one time 1960, while playing a gig in Ohio, I accidentally used the wrong approach to the women’s bathroom in the club. I stepped down off the stage and walked across the dance floor. I didn’t know that I wasn’t supposed to walk across the dance floor. People of color would have to go a round about way to the bathroom.  Everything was divided up. All this was new to me. Hey!  When you gotta go, you gotta go. I had to go, and the shortest distance between two points was to walk across the dance floor. Nobody said diddley! I think Bo got a little paranoid because when I came back he said, “Did you know you weren’t supposed to do that?”  I said,  “Do what?”  Well, how the heck did I know? This is my first time in town.  I got scolded and he said,  “Don’t do that no more, we might get in trouble.”  I told him, “My middle name is trouble if I gotta go!”   He laughed and laughed then he said,  “Yeah!  You’re gonna be alright.”

Tell me about your recording experiences.

I intended to go to Juilliard College to study classical theory, but then in 1957 when HEY! BO DIDDLEY was released, the vocal harmonies were supplied by Chester Simmons, Harvey Fugua (of Moonglows), Marvin Gaye (of Marquees, later MARVIN GAYE), James Nolan and Peggy (top voice) originally recorded at Beltone Studios in New York. Record labels credited The Moonglows. By 1959, I was proficient in BOs unique tunings, had a photographic memory and played in unison with him and thus added a further dimension to his already dynamic sound, was bold as he on guitar both on records and on stage, song after song, hit after hit such as HEY BO DIDDLEY, SAY MAN , ROAD RUNNER, WHO DO YOU LOVE?, GUNSLINGER, CRACKIN¹ UP and other songs. It has been said that you couldn’t tell one guitar from the other unless you were there. When Bo Diddley was inducted into the Rock & Roll Hall of Fame 1987, so were these hits. I did not make the occasion but he called from the auditorium to tell me he is not in the R&R H of F by himself and wanted me to know since I didn’t make the event and they didn;t call my name, I’m In the R&R H of F with him. Remember that. OK!

As a New York recording session guitarist after attending the professional school, my credits include hit single Wiggle Wobble and  Dig Yourself on Everlast released (USA) 1961 by Les Cooper & The Soul Rockers featuring saxman King Curtis; was one of the vocalists with The Bop Chords a 50s Doo Wop vocal group on So Why/ Baby for the Holiday label in 1957, re-issued later as Harlem Holiday-New York, Vol. One, COL-5051 (USA) 1988. There are others.

Recordings info:

Who are your current band members?

To be labeled and put in a box limits this musician the freedom of expression. Like the colors in a rainbow, my music has many moods and variations, and this lady is confident that my contribution to music is supported by all people who have witnessed such a bold move. Known for a soulful tight rhythm section The Family Jewel with Wally “Soulfinger” Malone, master force of P-funk syncopated bass-vocals, Pam “Buttercup” Arthur on keys-vocals, a drummer and I have taken a step up with the formation of my powerhouse horn section The B.C. Horns, for the last four years with co-music direction by “Lord John” James Halbleib, the first trumpet player, flugel and harmonica; and recently a second trumpet,  John LeMieux. The sax position is temporary with Bill Murphy. I would like to add a trombone. Sometimes I use a second guitar and baritone. 

Lady Bo band info:

Do you have in musical "heroes" and "sheroes"?   Who are the women blues singers that you enjoy listening to now?

Musical heroes and sheroes are my mom; Billie Holiday (and attended the funeral in NYC in 1959); Sam Cooke, Dinah Washington; Etta James; Ruth Brown; Laverne Baker; Minnie Ripperton; Natalie Cole; Mahalia Jackson; Dionne Warwick; B.B. King; Bobby Blue Bland; Booker T; Otis Redding (with nine horns); George Benson; Kathleen Battle; Dee Dee Bridgewater; John Tropea; David Sanborn; Sting and Prince with overall role model Lena Horne. I still listen to the masters.

Why do you sing the blues?

God gave me the insight to be unique that¹s why I sing and play Blues my way. There’s not a man or woman on earth that can take that away. I play all music.  

Blues is story telling about life situations. My life experiences and feelings are different. Where ever you are, there you are. I do not cry the blues over spilled water even tho’ the water’s deep? I nip it in the bud and keep moving on. The Blues is universal, where one retreats and your insides speak out. My venture as a guitarist in the entertainment field started miles ahead of time and miles ahead of today's players. I don’t look back. I move forward. For me possibly an age gap and life style cannot be stereotyped with what happened to others before me. Billie Holiday and Big Mama Thornton were one of a kind who were and lived their own experiences. Who did they copy? No one, and everybody listened. I sing and play Blues, about a memory of mine to be continued. I am here. I survived a similar Ike & Tina issue. I won. I live what I do. Happy!

In music, there were no women guitar player influence. As a lone warrior I’ve received advice from the musicians I met. My band members are mostly male with talent and determination united as one. Originally I played standard tuning. The open tuning guitar style developed with Bo Diddley. James Browns guitar player and Sam & Dave’s rhythm section in between gigs would hunt me down to offer funk technique shortcuts and exchange ideas and support in the direction of my band. Soul Latin, big band ideas for the horns were exchanged between my band, Gene Krupa’s and Mongo Santamaria’s band between gigs at the Metropole.

As a vocalist, I was trained to go somewhere with a lyric choose songs that are masterworks in content, words that musically says something because I know how to sing, sign, make it mine, play and deliver it. I never sing a Blues the same way and don’t believe that everyone feels exactly the same everyday, so why should a song be? Life is real, ups and downs. Who I am is truth and I am the artistry of what I created! I grew up with what my mother always told me from a little girl “You be you always, you can’t be nobody else” and my father would say,  “Don’t let nobody stop you, be your own person!”

Very wise words…What advice would you give singers just starting out?

They will need Will, Desire and Strength. Get an education, learn the business, and get a Union card. Also like Billie Holiday once said: What you gotta decide is who you are on stage so people will call YOU by YOUR name.... and not someone else!

After al that you have done, how do you want to be remembered?


As a performer, with a guitar in my hands I am to be considered armed with a lean, mean, slap in the face trademark guitar style, and Dangerous as a singer can get, smooth as silk, class on sass, well versed with excellent technique, a diversified upscale act with no label on the package.

I am not an entertainer who creates copy nor am I the daughter of someone famous. I’ve walked down the path many light years ago to prove that… Yes, I can do this. Watch me fly! .......LADY BO.

And finally, if you are reading this.......somebody listened!


BO DIDDLEY LPs and CDs.  Peggy Jones/LADY BO,


Chess LP-1431 original    w Bo Diddley³ BO DIDDLEY, 1958

Checker LP-1436 original w Bo Diddley  GO BO DIDDLEY, 1959

Checker LP-2974 original w Bo Diddley  HAVE GUITAR , WILL TRAVEL, 1960

Checker LP-2976 original w Bo Diddley  BO DIDDLEY IN THE SPOTLIGHT, 1960

Checker LP-2977 original w Bo Diddley  BO DIDDLEY IS A GUNSLINGER, 1960

Checker LP-2980 original w Bo Diddley  BO DIDDLEY¹S A LOVER,  1961

Checker LP-2982 original w Bo Diddley  BO DIDDLEY¹S A TWISTER, 1962

Checker LP-2989 BO DIDDLEY - 16 ALL TIME GREATEST, compilation 1964

Checker LPS-2982 BO DIDDLEY - ROAD RUNNER (is TWISTER LP retitled same


Checker LPS-3006 BO DIDDLEY - GO! BO DIDDLEY (Reissue of 1959 LP 1436) 1967

Checker LPS-3007 Bo Diddley BOSS MAN reissue (LP-1431, new number &


Chess 2CH-60005 (GRT) Bo Diddley GOT MY BAG OF TRICKS (2-Lp) compilation


New Rose Rose-34 The Mighty Bo Diddley CD    AIN¹T IT GOOD TO BE FREE,

France Œ84

Received no credit on Selections #7-10, was Lady Bo & The Family Jewel.

Chess (MCA)19502 Bo Diddley THE CHESS BOX (2-CD compilation box set) , 1990

SEECO 321, LP (SEE 21) (SEEK 321), BO DIDDLEY - The EP Collection  UK., 1991

Chess CHD-9331 (MCA) Bo Diddley  RARE AND WELL DONE Reissue, USA,1991

RARE ITEM* 12CD Red Box 8 Bo Diddley THE CHESS YEARS, 282 tracks, UK., 1993

MCAD-20872 BO DIDDLEY BO KNOWS BO, USA Compilation,1995

TRIPLE X Records THE MIGHTY BO DIDDLEY (USA reissue of New Rose-34, Ain¹t It

Good To Be Free) USA 1985,1995


MCA BO DIDDLEY IS A TWISTER 1962, now available in USA

MCA BO DIDDLEY IS A LOVER....PLUS 1961(British import) now available in USA

MCA 20th Century Masters - The Millennium Collection, BO DIDDLEY 2000


©2000 Lea A. Gilmore and P.W. Fenton, All Rights Reserved.