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BO DIDDLEY, The London Bo Diddley Sessions (1973)

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The package opens with a piece of latterday Bo, "Don't Want No Lyin' Woman", and apart from Cookie Vee's exquisitely tough but lilting vocal, the first thing that hits you is the production - not only is the track produced, with brass and reeds, but it has a loud electric bass, where most of Bo's earlier records barely had acoustic bass. Just to make sure that you know he remembers his roots, Bo also quotes Elmore James "Dust My Broo" in the guitar break. "Bo Diddley", 1972 style, comes complete with Eddie Hardin's organ noodling and sounds akin to Bo covering one of the admiring British band (The Animals, maybe) covering him, though how serious one can get over a fun tune like "Bo Diddley" is always debatable.

"Goin' Down" is Bo venturing into Stax/Volt territory, with emphatic Sessions comes on "Make A Hit Record", a Bo Diddley reggae-style number that merges his story-telling technique with a beat that was a lot more jarring at the time than his off-left 4/4 signature. "Bo Jam" is the Originator's return to his familiar guitar vocabulary, with an intro like a sideways variation on "Pretty Thing" and some heavy reverb thrown in.

"Husband-In-Law" owes a bit to Sly Stone and his early 'tos chart-topping arena chants, even if the lyrics are standard Bo Diddley battle-of-the-sexes, not far from "I'm Lookin' For a Woman". I don't know anyone who's ever done "The Robot", all alone or with a friend, but Bo makes this engaging piece of nonsense, stripped down and funky, seem like a good relations with the opposite sex ("like pute sneakers on a rooster") in Bo's entire catalog, and the funniest. And "Get Out Of My Life" is Bo's venture inte mellower Stax territory stylistically, a la Isaac Hayes, sweetly soulful and romantic, its title notwithstanding.

So there they are, nine songs that marked Bo's most earnest effort to link '50s roots with 20 or 30 years of social change and musical metamorphosis going on around him. The London Bo Diddley Sessions - even the title is ironic, attempting to make him more current by linking him to the British rock he helped spark - was a solid reminder that Bo Diddley was more than the name of the beat.

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