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: http://members.tripod.com/~Originator_2/ladybo.html
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: http://members.tripod.com/~Originator_2/musicians.html
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?
LADY
BO, FIRST LADY OF R&R BLUES AND QUEEN MOTHER OF GUITAR, AN AMERICAN LEGEND!
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!
-----------------------------------------
http://www.ladybo.com
BO DIDDLEY LPs and CDs. Peggy Jones/LADY BO,
Session-Guitarist-Vocalist-Band
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
#)1967
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 &
title)1967
Chess 2CH-60005 (GRT) Bo Diddley GOT MY BAG OF TRICKS
(2-Lp) compilation
1971
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 - HIS BEST, USA 1997
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
