Aside from
Chuck Berry,
Bo Diddley is one of rock's only architects who can claim a style of his own and also have it automatically identified with his own name, a virtual musical trademark. The jumping, syncopated rhythm that he came up with at the dawn of the 1950s is still a large part of what
rock & roll is all about, and makes
Diddley, in his own way, easily as revolutionary as
Berry or
Jimi Hendrix. That being said, it's almost bizarre that a tribute album hadn't already been arranged before this one. Though
Quicksilver Messenger Service's Happy Trails is all but a
Bo Diddley tribute, that was one group synthesizing his material through a brilliant
psychedelic gauze. Now, finally, in 2002 ex-Textones founder
Carla Olson has produced and put this authentic tribute album together, and it's a righteous beauty.
Olson, a fine solo artist in her own right, assembles a unique congregation of new and veteran musicians here who not only do
Diddley's music justice, but also show that the musician/songwriter was not limited to his patented, celebrated style. A good example of this would be
Corey Harris' swampy take on "Crackin' Up," which slithers like a rattlesnake on a desert floor. As well,
Kris Wiley's reading of "You Don't Love Me" combines
blues with
rockabilly and is buttressed by a brilliant shuffle rhythm.
Diddley's more recognizable rhythm and feel is captured in dazzling style by such masters as
Taj Mahal (on "Bo Diddley") and
Charlie Musslewhite's beautifully dusty rendition of "Hey Bo Diddley." On all of the tracks, the guest singer/soloists are accompanied by a stellar, well-oiled band led by veteran guitarist
Charlie Karp. In fact, having the guests play with the same band on virtually all of the cuts was a stroke of genius by
Olson. It takes the concept of the tribute album to a more refined, homogenous arena, raising the level of the game and also paying proper tribute to one of rock's true founding fathers with the same wit and energy that made him one. ~ Matthew Greenwald, All Music Guide
