When you think of quintessential rock anthems, George Thorogood’s “Bad to the Bone” undoubtedly comes to mind. This iconic track, synonymous with tough guys and rebellious attitudes, has permeated popular culture for decades. But the story behind this legendary song is more nuanced than you might expect. Let’s delve into the history of “Bad to the Bone”, exploring its surprising origins and enduring appeal.
Initially, when approached for an interview, the ever-enigmatic George Thorogood playfully dodged revealing his location, quipping about a “government oath.” When asked how he was doing, his response was equally characteristic: “Bad to the Bone.” This anecdote perfectly encapsulates the persona he’s crafted, deeply intertwined with his signature song.
It might surprise fans to learn that Thorogood initially envisioned “Bad to the Bone” not for himself, but for a blues legend. “I thought it would be a great song for Muddy Waters,” he revealed. He even attempted to pitch the song to Waters’ camp, but faced unexpected resistance. “His people were very offended with me for bringing the song to him. They were like, ‘A white guy bringin’ a blues song? Hell no, that’s not gonna work.’” Thorogood found this reaction frustrating, noting the different reception a British rocker like Eric Clapton or Keith Richards might have received.
Undeterred, Thorogood then approached Bo Diddley with “Bad to the Bone.” Diddley loved it and wanted to record it, but lacked a record deal at the time. This opened the door for Thorogood to claim the song for himself.
Released in 1982 as the title track of Thorogood’s fifth album, “Bad to the Bone” became a massive hit and a cultural phenomenon. Its impact extends far beyond the music charts, embedding itself into the fabric of film, television, and advertising. Perhaps one of its most memorable appearances was in the opening scene of the 1983 horror classic Christine. The song’s defiant and menacing vibe perfectly complemented the sinister nature of Stephen King’s killer 1957 Plymouth Fury, solidifying its association with a “don’t-mess-with-me” attitude.
However, “Bad to the Bone” isn’t Thorogood’s only signature song. Years before his 1982 hit, he established another fan favorite with his cover of John Lee Hooker’s “One Bourbon, One Scotch, One Beer.” This track, featured on his self-titled debut album, alongside “Bad to the Bone”, appears on his greatest hits compilation Icon and the concert video Live at Montreux 2013, showcasing the enduring popularity of both songs.
Thorogood recounts his inspiration for covering “One Bourbon, One Scotch, One Beer” after seeing John Lee Hooker perform it live. “I had an album by John Lee Hooker called Live at the Café au Go-Go,” he remembers, “and then I went to see him at the Café au Go-Go. He did ‘One Bourbon, One Scotch, One Beer’ in both sets, and I noticed that people were dancing—and the people that were dancing were all women!” He recognized the song’s infectious rhythm and appeal immediately.
Later, while opening for Sonny Terry and Brownie McGhee, Thorogood witnessed Brownie McGhee’s captivating acoustic rendition of the same song. “He was playing it on acoustic guitar, with just a harmonica player, and everybody was on the dance floor,” Thorogood explained. This solidified his conviction in the song’s power. “The song was so strong I started playing it immediately. I knew if anything was gonna break, that’s the tune.”
Both “Bad to the Bone” and “One Bourbon, One Scotch, One Beer” have become cornerstones of George Thorogood’s career, demonstrating his knack for recognizing and creating songs that resonate with audiences across generations. From its almost-rejection to its status as a cultural touchstone, “Bad to the Bone” remains a testament to Thorogood’s musical instincts and the enduring power of a truly great rock and roll song.
