[kj] OT: Speaking of Bo Diddley...

[sade1]

For all the guit'enthusiasts on here,
  i read somewhere last night that Bo Diddley tended to use a certain time-signature as part of his trademark rhythm/sound. I think they said it was 5/8 [i know nothing about time sigs, i couldn't tap out a 4/4 if my life depended on it]
   My question is, doesn't Geordie also use a certain rhythm/time-sig in lots of his work? I hear something constant in lots of his work and i thought maybe it's a time-sig or similar.
 


 
... ... ... ... ... ... 
(looking at the current state of things)

'Save me..                                                
 save me from Tomorrow..                          
 I don't want to sail in this Ship Of Fools...!'   

--- On Fri, 6/6/08, ade <ade at the-lab.zetnet.co.uk> wrote:

From: ade <ade at the-lab.zetnet.co.uk>
Subject: Re: [kj] OT: Speaking of Bo Diddley...
To: "A list about all things Killing Joke (the band!)" <gathering at misera.net>
Date: Friday, June 6, 2008, 2:30 PM

Totally pioneering - I think it took someone like Hendrix to then come
along & mutate that rhythmic barrage of Diddley's into the 'next
step',
or progression.

All fucking Alchemists in my mind. Nevertheless, I'd say the ideas behind
something like Geordie's use of slap-back delay on lots of Nighttime goes
directly back to Rock'n'rollers, Rockabilly, etc. As you say, the
'twang'.
Dirt that twang up slightly, add chorus, turn up the repeats on the slap-
back & you have the bells of Nighttime!

Even Hank Marvin was initially awe-inspiring, with tape-delay, trem, etc.

I think those sounds had a profound effect on Geordie. Sabre Dance, for
fuck sake - says it all, really. As well as the influence of the earthy
rhythm (& lead) gods such as Angus Young & Jimmy Page & the
intellectualism
of John McLaughlin.

If guitars hadn't been big boxes all those years ago, with all that fat
bottom-end, it might not have become the rhythmic instrument it is today!



-----Original Message-----
From: gathering-bounces at misera.net
[mailto:gathering-bounces at misera.net]On Behalf Of B. Oliver Sheppard
Sent: 06 June 2008 21:20
To: A list about all things Killing Joke (the band!)
Subject: Re: [kj] OT: Speaking of Bo Diddley...


Ade,


Yeah, that's an incredible video.

The thing I like about Diddley's style, I am finding out (I always 
ignored or avoided him because he seemed like someone my parents would 
like, which meant I would automatically shun it, and I missed out on 
some decent stuff because of that stubborness) -- is his really weird 
utilization of the more percussive, chunky, chunk-chunk-wokka-wokka 
aspects of the guitar that are amplified through certain types of 
distortion. And the way he effortlessly maneuvers across the fretboard 
while swinging the damn thing around. The opening of, for example, 
Killing Joke's "Tabazan," where Geordie does that weird,
palm-muted 
"chukka-chukka-chunk-chunk" thing before playing outright
identifiable 
notes -- that is the kind of thing I guess Diddley was going way back as 
early as the 50s..????

The Sun Records crew, god bless them, in the 1950s were more interested 
in Western-style twang for their rockabilly. I like that style, too. But 
Diddley was going down this really chugga-chugga, chikka-chikka type of 
guitar path that wasn't fully exploited until heavy metal came along, 
when you would have regular palm muted "rhythm guitar" essentially 
trying to play counterpoint to the drumming, chugging along to the 
drums. I'm not an uber-scholar, but from all I have seen, it looks like 
Diddley is one of the pioneers of that aspect of rock guitar.

That video you posted is indeed pretty incredible.

-Oliver

ade wrote:

> Excellent Olly! Here's another!

>

> http://www.youtube.com/watch?v=sgzn7VyoqEw&NR=1

>

> We're all standing on the shoulders of giants, innit.

>

>

>

>   


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