According to the magazine Rolling Stone:
The B side of Diddley's first-ever single was built around a four-note guitar stomp that was a trademark of mid- Fifties Chicago blues. Songwriter Willie Dixon, who supervised the 1955 session, said it was Diddley's sense of rhythm that set him apart from everyone else at Chess [Records]: "The drums are speaking, and he'll tell you what the drums are saying."
Hmmm...
If Bo Diddley's "I'm a Man" is telling me what the drums are saying, I cannot help but be reminded of a Far Side comic wherein Larson translates the barking of dogs into English: We see a dog chasing a car and another dog excited about a person walking down the street and still another dog squaring off with something up a tree . . . and in each instance, the dog is saying "Hey! Hey! Hey hey!"
In other words, the song is that four-note guitar riff (Da-DAA da-dah), endlessly repeated.
Over and over.
And over.
With Bo's two-note melody expressing lyrics that may not even be worthy of that many notes:
I seriously (Da-DAA da-dah) cannot imagine (Da-DAA da-dah) picking this song (Da-DAA da-dah) over Chicago's totally different song with the same title...which didn't even make Rolling Stone's list.
Da-DAA da-dumb!







