The degree to which 'black culture' has been absorbed and assimilated into the mainstream and impacted and influenced white culture and society while black people are not and virtually left behind and left out is absolutely astounding.

Here's another example:

"Tequila" is a 1958 Latin-flavored rock and roll instrumental recorded by the Champs. It is based on a Cuban mambo beat. The word "Tequila" is spoken three times throughout the tune. "Tequila" became a #1 hit on both the pop and R&B charts at the time of its release and continues to be strongly referenced in pop culture to this day.

The tune has been noted to have a similar rhythm structure to Bo Diddley's 1958 release "Dearest Darling". A song he had been performing  on the
black circuit in the south for a period of time prior to the release of the studio recordings.

Listen carefully to Bo Diddley's intro: Now listen to the Champs':

You'd have to be nearly deaf  to be unable to conclude that there is more than "rhythmic similartity" here.

As a consequence, it could be argued as follows:

Bo Diddley provided the Champs the essential musical concept for the composition of their signature smash hit, "Tequila".

The Champs gave Glen Campbell and Seals & Crofts their starts as touring musicians due to the wild popularity of the song.

Therefore Bo Diddley was instrumrntal (no pun intended) and influential in the early stages of the careers of Glen Campbell;

and Seals & Crofts;All of whom are shown here performing with the Champs.

"Tequila" anyone?

Views: 246

Comment by Ron Powell on August 22, 2017 at 7:02am

This post was inspired in part by Rodney Roe's post, " A Small Tribute to Glen Campbell..."

Comment by greenheron on August 22, 2017 at 7:31am

You know I knew this. How about an expose on some of the women musicians who got ripped off and unlike Bo never became famous?

Give ya a dollar if you can tell me where Bo Diddley got his name without looking it up on Wiki.

Comment by greenheron on August 22, 2017 at 7:33am

Also, Mexicans got some shafting too when Glen pretends to be I don't know what the heck but you know, tequila. 

Comment by koshersalaami on August 22, 2017 at 8:17am

Well, they are in different keys, Bo Diddley being in Ab and rage Champs being in F.....

Just kidding. You'd absolutely have to be nearly deaf. 

i didn't know the originals of either. 

Comment by Ron Powell on August 22, 2017 at 8:21am

@Greenie; I'll give you a dollar if you can figure out which of the many stories about his name are true....

Comment by Ron Powell on August 22, 2017 at 8:32am

@Kosh; "i didn't know the originals of either."

It's a generational thing... 

Back then certain instrumentals were rnormous hits..

Today?.... Who's listening to the "music"?

Comment by greenheron on August 22, 2017 at 8:56am

Ron, you are telling the person who visited all three of Robert Johnson's graves. No one knows where he rests for certain. Legends abound. But the diddley bow story is authentic. It's an incredible haunting instrument, made with a wire strung between two nails nailed to a piece of wood or the side of a house and played with a bottle. It was a slave plantation instrument. Bo Diddley would not joke or lie about that.

But.....women need some ripped off representation here. Okay. I'll go.

Fifteen years old, I’d come home from school, light up and lie down on my bedroom floor with a stereo speaker next to each ear and listen to Janis. Janis knew all about my fifteen year old pain, break-ups, you know the worst pain you can ever feel. You broke my heart Scott Conley, and you will miss me while kissing Chrissie Stride, you surely will.  

When I was around thirty years old I heard Big Mama sing this song for the first time and had to stop and find a place to sit down to allow it to fill up my head. Everything I thought I knew about this song was blown away in Mama’s first three notes. 

This is grown up woman pain, but grownup pain I never knew, only touched a little around the edges. Alcoholism, drugs, homosexuality, blackness, a woman with more talent than the men she played music with, a woman with more talent than the white people who made her music famous. Italian opera can’t match that pain. Or maybe that’s an opera right there (have you heard Big Mama’s cover of Summertime?)

Like Son House, she put it all out there. Rather than perform all nicey-nice, she bleed it out.



Comment by Ron Powell on August 22, 2017 at 9:18am

Oh, Hell yeah!!!

Comment by Jonathan Wolfman on August 22, 2017 at 9:23am

When the Beatles, on Abbey Road, sing HERE COME OLD can draw a direct line back to Chuck Berry and farther back to Robert Johnson.

Comment by Ron Powell on August 22, 2017 at 10:02am



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