The Women Behind Bo Diddley’s Brilliance: Lady Bo, The Duchess, & the Bo-Ettes
Expectations for girl groups in the 1960s often centered around maintaining a prim and proper image. Groups like the Ronettes, Ikettes, the Raelettes, and later Labelle embraced a more rebellious or non-conventional image, challenging societal norms and traditional expectations for women. This defiance of expectations often resonated with audiences, particularly younger generations seeking music that reflected changing social dynamics. These girl groups inadvertently broke social barriers that had always been ingrained in the subconscious status quo.
Peggy Jones (“Lady Bo”). Illustration by J.D. Humphreys
• A ROCK & ROLL LADY •
Meet Peggy Jones, the trailblazing rhythm guitarist who ignited the stage with her musical prowess and left an indelible mark on the world of Rock & Roll. Picture this: It’s 1955 at the iconic Apollo Theater in Harlem. A 15-year-old Peggy, lugging around her guitar case, catches the discerning eye of none other than Bo Diddley, a revered music artist who was a driving force in transitioning Blues to Rock & Roll. Unaware at the time, this meeting would lay the foundation for a revolutionary journey, influencing not only her own musical trajectory but also paving the way for numerous other artists to chart new paths in the industry.
Bo Diddley. Illustration by J.D. Humphreys
From 1957 to 1961, Peggy Jones joined forces with Bo Diddley, recording iconic tunes and etching her name in history as the first female rock guitarist in a prominent band. Her unwavering determination to be an independent artist earned her the well-deserved moniker, the “Queen Mother of Guitar.” During her time with Diddley, she worked independently as a session musician, bandleader, and songwriter. As a songwriter, Jones played a crucial role in Diddley’s musical evolution from Blues to Rock & Roll. Her creative contributions, however, went largely uncredited.
But Jones had bigger dreams. She parted ways with Diddley in 1961 to focus on her own group, the Jewels, later known as the Fabulous Jewels and then Lady Bo & the Family Jewels. Her musical journey included collaborations with legends like Les Cooper and providing percussion for the 1967 hit “San Franciscan Nights” by Eric Burdon and the Animals.
While rumors of a romantic entanglement with Diddley circulated among fans, Jones would marry the band’s bass player, Wally Malone, in 1968. Her departure left a void in Diddley’s band and left fans disappointed, leading him to enlist Norma-Jean Wofford, known as “The Duchess,” as his new rhythm guitarist.
• MAKE WAY FOR “THE DUCHESS” •
With her skin-tight clothes and captivating stage presence, Wofford added a new dimension not only to Diddley’s performances but also his records. Diddley helped refine Wofford’s skills on the rhythm guitar, and together, they wielded identical instruments—rectangular Gretsch Jupiter Thunderbirds, Cadillacs, and Cigar Boxes—all of which he played a part in designing. The distinctive rectangular shapes of these three models, according to Diddley, were crafted to enhance playability, showcasing his commitment to innovation in the world of musical instruments.
“We were playing at the Club A Go-GO in Newcastle, our home town and the doors opened one night and to our surprise walked in the man himself, Bo Diddley,” recalled Eric Burdon, lead singer of the Animals, in The Story of Bo Diddley. “Along with him was Jerome Green, his maraca man, and the Duchess, his gorgeous sister... He turned around the Duchess an he said, ‘Hey Duchess, what do you think of these young guys doin’ our material?’ She said, ‘I don’t know. I only came across here to see the changin’ of the guards and all that jazz.’”
Norma-Jean Wofford (“The Duchess”). Illustration by J.D. Humphreys
She made a visual statement on his various album covers, notably gracing Bo Diddley & Company. Diddley referred to Wofford as his sister in order to take on a more protective stance towards her while on tour. “The Duchess” garnered such immense popularity that Diddley frequently accorded her second billing in the promotion of his shows. She harmonized with Gloria Morgan and Lilly “Bee Bee” Jamieson as part of the Bo-ettes until 1966. Wofford decided to step away from Diddley’s ensemble to focus on raising a family after tying the knot.
“Norma-Jean was my first sidekick... We did everything together.”
- Bo Diddley
“Norma-Jean was my first sidekick... We did everything together,” remarked Diddley in 2005 upon the passing of Wofford. “She was like family, which was why I told everyone she was my sister. There was no one else like her and I will miss her very much.”
• THEIR LEGACY •
Diddley would welcome Jones, now Malone, and her Jewels back into the band in 1970. Her choice instrument was the Roland guitar synthesizer, an experimental instrument not common in typical R&B. As she took the stage, the crowd chanted “Lady Bo,” reinforcing her famous nickname.
Both Malone and Wofford were active musicians until their deaths. It is often overlooked in R&B and Rock & Roll history that these two women defied perceptions of Black female artists, known mostly for vocals. The rhythm guitar was a masculine instrument and they proved that female musicians could handle it just as well as, or even better than, any male guitarist. In addition to playing rhythm guitar, they danced and sang—in heels. Peggy Jones and Norma-Jean Wofford, the unsung heroines who rocked the stage and shattered norms, paved a harmonious path for future generations of female musicians.